中國(guó)雙胞胎，被領(lǐng)養(yǎng)后命運(yùn)殊途

中國(guó)雙胞胎，被領(lǐng)養(yǎng)后命運(yùn)殊途

Everything about the Norwegian film “Twin Sisters” seems too good to be true. The stars are a pair of adorable 10-year-olds as energetic as they are well-adjusted. The supporting players look like the four nicest, most supportive parents you could meet. The story hinges on a set of fateful coincidences that profoundly change the lives of everyone involved. “Twin Sisters” is a documentary, though, so there’s no need to suspend disbelief.

挪威電影《雙胞胎姐妹》(Twin Sisters)里的一切太美好了，簡(jiǎn)直不像是真的。主人公是兩個(gè)可愛(ài)的十歲女孩，她們充滿活力，適應(yīng)能力很強(qiáng)。里面的配角是四位父母，他們也幾乎是你見(jiàn)過(guò)的最和善、最支持孩子的父母。這個(gè)故事圍繞一系列宿命般的巧合展開(kāi)，這些巧合深深地改變了其中每個(gè)人的生活。不過(guò)，《雙胞胎姐妹》是一部紀(jì)錄片，所以沒(méi)有必要覺(jué)得這是虛構(gòu)的美好。

Mona Friis Bertheussen’s film, showing on Monday night in the PBS series “Independent Lens,” is an Asian-adoption story. Movies in that genre are typically about grown-ups, often the filmmakers themselves, seeking out the biological families they’ve never known. “Twin Sisters” turns that narrative on its head.

周一晚上，莫娜·弗里斯·貝瑟森(Mona Friis Bertheussen)的這部紀(jì)錄片在PBS頻道的《獨(dú)立鏡頭》(Independent Lens)欄目播出，它講述的是收養(yǎng)亞洲孤兒的故事。那種類型的影片通常是關(guān)于成年人的，通常是拍片者本人親身尋找自己從不相識(shí)的親生父母?！峨p胞胎姐妹》與此截然相反。

Ms. Bertheussen — taking advantage of how Western fathers film and photograph every step of their trips to adopt Asian babies — economically sketches out the amazing background to her story. A Norwegian couple and an American couple arrive in the same Chinese city on the same day to collect their new daughters. There’s no reason for them ever to meet, but a delay in paperwork and a matching pair of red-gingham baby dresses — one carried from Norway, the other from California — bring them together. They notice that their babies look very much alike.

西方的父親們喜歡錄制和拍攝自己領(lǐng)養(yǎng)亞洲嬰兒的每個(gè)步驟。貝瑟森利用這一點(diǎn)，簡(jiǎn)練地勾勒出這個(gè)故事的驚人背景。一對(duì)挪威夫婦和一對(duì)美國(guó)夫婦在同一天到中國(guó)的同一個(gè)城市領(lǐng)養(yǎng)自己的新女兒。本來(lái)他們不可能見(jiàn)面的，但由于文件延誤，同時(shí)由于他們帶來(lái)的兩條紅色條紋嬰兒棉裙非常相似——一個(gè)是從挪威帶來(lái)的，一個(gè)是從加利福尼亞州帶來(lái)的——所以他們被聯(lián)系到了一起。他們注意到他們領(lǐng)養(yǎng)的兩個(gè)嬰兒非常相像。

The film then jumps ahead 10 years, to the current lives of Alexandra Hauglum in a tiny, snowbound Norwegian village and Mia Hansen in a leafy Sacramento suburb. Each has known all her life that she has a twin halfway around the world whom she hasn’t been able to grow up with. In the course of the film, they have a rare reunion, when the Hansens make the trip to tiny Fresvik.

然后，影片向后跳躍十年，講述兩人現(xiàn)在的生活。亞歷山德拉·豪格拉姆(Alexandra Hauglum)住在挪威的一個(gè)白雪皚皚的小村莊里，米婭·漢森(Mia Hansen)住在薩克拉門托的一個(gè)綠樹(shù)成蔭的郊區(qū)。她們一直以來(lái)都知道有個(gè)雙胞胎姐妹住在地球的另一端，她們不能一起長(zhǎng)大。在影片中，她們有了一次罕見(jiàn)的團(tuán)聚——漢森一家人前往豪格拉姆住的小村莊弗里斯維克。

Ms. Bertheussen lays out the huge differences in the girls’ lives: Mia is heavily scheduled, plays with life-size dolls and, because of her mother’s safety fears, is driven everywhere; Alexandra tends a pet mouse, tromps around the mountain paths alone and walks to school down a country road before sunrise. Then she shows us how remarkably similar they are, and how symbiotic, despite the impediments of language, culture, distance and time. “Twin Sisters” is short (53 minutes), modest, straightforward and — without being exploitive or overly sentimental — a complete emotional wipeout. It’s gently devastating.

貝瑟森描繪出兩個(gè)女孩非常不同的生活：米婭的活動(dòng)很多，和真人大小的玩偶玩耍，因?yàn)閶寢寭?dān)心她的安全，她去哪兒都坐車。亞歷山德拉養(yǎng)了一只寵物鼠，獨(dú)自在山間小道上漫步，日出前沿著鄉(xiāng)間小道去上學(xué)。然后她向我們展示出，盡管她們語(yǔ)言文化不同，隔著千山萬(wàn)水，多年未見(jiàn)，但她們驚人地相似，有一種共生關(guān)系。《雙胞胎姐妹》短小(53分鐘)，樸實(shí)直白，沒(méi)有濫用素材，也沒(méi)有過(guò)分傷感，但能引起情感共鳴，以溫和的方式令人印象深刻。