本文旨在探讨以基耶斯洛夫斯基《维罗尼卡的双重生活》为源流的一种“双生花”主题影片，在华语电影中的继承、变形、具体表现与根本意涵。《维罗尼卡的双重生活》描述了两个相同姓名与容貌的少女，她们生活在两个国家，素昧平生却有着奇妙的心灵感应。基耶斯洛夫斯基大胆地设想了一种“灵魂双生”的叙事设置，相比日常生活为人所知的“生理双生”而言更富神秘感与宿命感，讨论了个体的孤独迷失，“双生花”就是个体在自我质询时诞生的一种“镜像”想像。到华语电影中，“双生花”主题则呈现出三种不同的面貌：一是以王全安《月蚀》（1999）、娄烨《苏州河》（2000）为典型代表的“魅影姐妹”主题。两部电影几乎完全化用了《维罗尼卡的双重生活》对“双生花”的设置，各自刻画了两个一模一样、但却似乎没有现实关联的少女的城市历险。它们都是典型的“第六代”作者电影，诞生在世纪之交时，影片对城市的刻画极具时代性，呈现为传统与现代之间的流动与断裂，而“双生花”的故事则构成一种创伤性的时代寓言，指向人们对纯真年代的怀恋。二是以张元《绿茶》（2003）、林爱华《安娜与安娜》（2007）为典型代表的“精神分身”主题。两部电影都呈现为将两个灵魂放入一个身体的努力，但前者表现为类似“精神分裂”的“一体两面”，后者表现为类似“灵魂分身”的命运探索。影片呈现了一个遵循等价交换、金钱交易的小资城市空间，但表达更加温和，城市的意象表现得平滑而略显虚幻，完全呈现为中产阶级的眼光。“双生花”的故事更像是对现代人“精神分身”的想像，体现了现代人在城市空间下的多重性与分裂性，无法实现的匮乏成为她们创伤经验的来源。三是以李霄峰《少女哪吒》（2014）、曾国祥《七月与安生》（2016）为典型代表的“灵魂伴侣”主题。它们都是由女性作家作品改编的青春片，“双生花”是80-90后独生子女对无血缘的“世另我”的美好想象，比起前两种“双生花”强调的“心灵感应”般的共性，她们更看重彼此的不同。故事发生在小镇空间中，学校、家庭与街道成为她们活动的主要场所，小镇们往往指向一种乌托邦般的故乡想像。三种“双生花”主题电影，借用了基耶斯洛夫斯基的想像，实际表现了一种在地化的创伤经验，是对孤独的表征，指向现代人永恒的乡愁。
This study aims to probe into the origin, evolution, concrete manifestation and fundamental implications of a theme of feature films – ‘Twin Flower’, derived from The Double Life of Veronique by Krzysztof Kieslowski. This movie started a brand-new subject of film narratology called ‘Twin Flower’, demonstrating two girls, complete strangers to each other, who live in two countries but embrace two identical names, appearances and hobbies, as well as their intriguing telegraphy. Through this film, Krzysztof Kieslowski boldly set up a new narrative form based on the significance of ‘Twin Souls’, not the generally known ‘Twin Bodies’, which is much more mysterious and fatalistic. The film discusses the state of isolated individual, and the twin flowers would be a mirror image to each other during the process of their self-inquiring. However, the desire emerged from the looking-glass self will definitely lead to the eternal lack.In Chinese-language films, the theme of ‘Twin Flower’ presents three various branch types as:The type of ‘Phantom Sisters’ films, typically represented by Lunar Eclipse （1999） by Wang Quan’an and Suzhou River （2000） by Lou Ye. The two films adopted the narrative set-up almost entirely from The Double Life of Veronique, portraying two girls with the same appearances but no practical relevance who respectively experienced their urban adventures. The films are both outstanding representatives of sixth-generation Author Films, born at the turn of the century, depicting the cities in an intense contemporary characteristic with the fluidity as well as the fracture between ‘tradition and modernity’. The story of ‘Twin Flower’, as an allegory of the traumatic times, points out a sign of people’s nostalgia to their age of innocence.The type of ‘Doppelganger’ films, typically represented by Green Tea （2003） by Zhang Yuan and Anna ＆ Anna （2007） by Lam Oi Wah. The two films both describe the ghostly double of a living person that haunts its living counterpart, but with the former showing both sides sharing one body, similar to the concept of ‘Schizophrenia’, and the latter exploring a kind of fate resembling the concept of ‘Soul Separation’. The films jointly describe a ‘petty bourgeoisie’ city complying with the principles of equivalent exchanges and real money trading. However, the expression of the city looks more temperately, embracing a sense of smooth illusion. The story of ‘Twin Flower’ is more like an illusory image of modern spiritual separation, reflecting the multiplicity and divisibility of the contemporary people, and making the eternal ‘desire’ and ‘lack’ the origin of their trauma experiences.The type of ‘Soulmate’ films, excellently represented by Nezha （2014） by Li Xiaofeng and Soulmate （2016） by Derek Tsang. They are both ‘youth stories’. ‘Twin Flower’ here is more like a beautiful visualization for ‘another me in the world’ by the post-80s and post-90s ‘only child’. Compared to the former two types of twin flowers, emphasizing the common characters caused by telegraphy, the flowers in this kind value their differences more. The stories mainly occur in the town-scale spaces, in which schools, families and streets become their basic living places. In this sense, the ‘towns’ are always meaning their utopian imagination of ‘hometown’. Their ‘Twin Flower’ plots often end with death, aiming at a description of the hometown where they could never go back. And the mutual understanding of the twin flowers presents an imaginary misrecognition.The three types of ‘Twin Flower’ films give us a localization of trauma experiences with the help of Krzysztof Kieslowski’s imagination. In practical, the expression of the films provides a characterization of modern loneliness, as well as the general contemporary homesickness.
