《日麗》英文原名 Aftersun，若把這詞具象化，那應該是個慵懶漫長的夏日午後，充滿海洋的鹹與孩子笑鬧聲，而皮膚因長時間曝曬，變得熱燙燙。
故事開始，十一歲的蘇菲興沖沖拿著 DV 攝影機向父親提問「你覺得你十一歲的時候在幹嘛」；故事結尾，成年蘇菲獨自在家追憶這段回放，目送父親道別。整部電影的時空背景，定位在年幼蘇菲與父親的土耳其假期，以蘇菲作為第一視角，穿插蒙太奇手法，讓本來看似真實的記憶，多了點迷幻成分，與時間的斷裂感。
觀影過程其實沒產生什麼感想，就只是看著，享受父女相處時對待彼此的溫柔。莫名想流淚，其中最深刻的是這段對話：
Do you think you'll ever move back to Scotland?
No.
Why not?
Not enough sun.
Very funny.
It's in the past for me. That's all. And there's this feeling once you leave where you're from, where you grew up, like you don't totally belong there again. Not really. But Edinburgh was never⋯ I never felt like I really did belong there.
I do. It's home.
That's good. I'm glad. I'm glad you feel that way. You never know where you'll end up though. You can live wherever you want to live. Be whoever you want to be.
後來有幸在《BIOS monthly》看到蘇致亨・弄髒電影史豪華番外篇｜《日麗》這款深埋線索的同志片，比壓縮機還要稀有，才看明白情節裡的隱藏訊號。感謝作者在文中分享了 Charlotte Wells 的原作劇本。
所以我自己沒什麼特別想說的，想說的都在標題裡。
