Hello，广播前的各位听众朋友们大家下午好，这里是每周四准时与大家想约的movie zone，我是今天的主播杨莹 李晨曦。

近日，《我的姐姐》登陆国内院线热映，口碑也引发了巨大争议。影片围绕一对失去父母的姐弟展开，姐姐被要求要抚养年幼的弟弟，她在面对追求个人独立还是抚养弟弟的问题上挣扎徘徊。影片上映后，“父母去世姐姐是否必须抚养幼弟”还一度登上微博热搜。

For the Chinese, the appellation between relatives is not only to mark the blood relationship, but more importantly to mark the position and role of each person in the ethical order. When An Ran is labeled as the "elder sister" of An Ziheng in My Sister, a flood of obligations and responsibilities pours down on her, all of which are taken for granted by her just-speaking relatives. An Ran had to face the problems caused by the identity and role of "sister", so it was caught between two sides, struggling and suffering. And this story is not about "new problems." The questioning and attack on the traditional family ethical order, the opposition to the disdain and suppression of family women, the emphasis on the independence and individual value of women, which occurred in the late Qing Dynasty and the early Republic of China and broke out in the May 4th New Culture Movement, are all repeated in this film. So what kind of twists and turns have we experienced in the discussion of these issues? When women face family ethical conflicts, do they have better choices? Let's talk about it in Movie Zone today.

In My Sister, An Ran is a rather typical modern woman with a clear cognition of self-subject consciousness and strong ability of reflection and criticism. And a big part of that, looking back in the film, comes from the family she grew up with and encountered. The parents' desire for their sons is a continuation of the "son preference" stereotypes that caused immediate and profound harm to An Ran.

In the film, in order to have a second child, the father declared that his daughter was lame and asked An Ran to play the role of the lame woman. Parents' obsession with their sons also causes psychological damage to An Ran, especially doubts about their self-worth and perceptions of being a girl, and is likely to result in self-harm and belligerence. However, An Ran did not turn dark in the shadow of the latter in the end. Instead, she grew into a strong-minded and tough girl, which was directly related to her growing up around her aunt when she was a child.

The narrative that the "elder sister" must be sacrificed in order to fulfill the younger brother is very common throughout the East Asian Confucian family ethical order. In the film "KIM JI-YOUNG, BORN 1982", she was also asked by her grandmother to step back from everything because she had a younger brother. Her mother also spent her life suffering and sacrificing her desire just like the aunt in "My Sister". Most of them are well aware of the neglect, belittling and discrimination they face in their family's patriarchal culture, but they have no way to complain, no way to struggle, and ultimately they have to suffer in silence in the hope of coming out on top.

在《性别政治与国家：论中国妇女解放》中，学者张念指出，近代女性自我意识的觉醒与她们身体的行动有紧密联系。迈开三寸金莲走出闺阁这一看似简单的身体动作对于中国近代女性而言却是惊天动地且十分惨烈的。造成传统女性被束缚的第一层空间限制便是由“家”所建造的“闺阁”，因此遭到批判和反对的第一个对象也便是传统之“家”。曾赋予女性安全与稳定的“家”以及在其中所形成的伦理秩序，最终因其密封性成为“解放”这一新观念的对立面，由此走出闺阁与离开家庭，成为近代女性走向独立和自主的第一步。

在近代女性解放中，个人主义强调的个体自主有极具破坏性和颠覆性的力量。当女性以个体脱离家庭伦理制度，抛弃那些诸如“妻子”“母亲”或“姐姐”的角色只作为自己存在时，她们便创造出新的责任与义务关系。“我是我自己的”这一在《伤逝》中出现的女性意识是女性走向自由的基础性一步。但伴随着20世纪国内的政治动荡与国外日本侵略的加剧，个人主义开始遭到批评与质疑，离开家涉足社会的女性也在新的意识形态号召下回归家庭（如国民党发起的“新生活运动”）或走向革命（如丁玲等女性前往延安）。在危急存亡中对新集体的召唤产生了新的联合，但也在某种程度上淹没了早期对个体性的强调和关注。最终女性融于新的集体，女性意识或说女性作为性别集体的需求、困扰和压迫再次被忽视，抑或划入其他范畴、遭到同化。

The universality and resonance of My Sister's story becomes all the more powerful when the traditional preference for sons confronts the one-child policy. In the film, An Ran and his younger brother are teenagers apart and barely grow up together, so there is no need to mention sibling affection. Growing up as an only child, the younger brother grew up to be a "little emperor," largely the heir to his traditionally male society and its privileges. If we take resettlement as a sample or metaphor, we will find that women are ignored, hurt and marginalized in it, and men are taken care of by privilege and develop the character of "master", which is almost a metaphor for the situation of both sexes in society. The traditional pattern of "homogeneity of family and country" also implies the expansion of family ethics.

Hu Shi once wrote in a letter to his son, "I raised you not because of kindness, but because of biological instinct caused by blood relationship. Therefore, since I have not been kind to you, you need not repay me." However, with the urbanization caused by modernity and the dissipation of traditional communities, individuals are atomically free and lose their dependence. The image of "home" began to be re-imagined and shaped as a new harbor.

So in My Sister, no matter how much we fought for An Ran and felt that her choices and behaviors were understandable, when our brother finally became considerate and full of warmth, we immediately gave in and threw ourselves back into the warm embrace of our family. In the end, "my sister" was again chained by this shrewd brother, and covered with a softer icing that was satisfying to eat. That may be why the ending is so controversial.

The image of water recurs throughout the film. One of the most intense was in An Ran's dream, in which she learned to swim when she was a child but found that her parents were not around when she drowned. She could only save herself in the end. The dream is exquisitely visualized, alluding not only to An Ran's terrible situation as a girl at home, but also to a much harsher reality: that only the girl herself can ultimately be saved.

The second striking image of water is that of An Ran on a rainy day, when she goes to her parents' grave to say goodbye, and on her way down the mountain, the water splashes down the stairs. In traditional imagery, women have always been closely associated with "water". In "My Sister," the flexibility of the water finally seems to overcome its potential to drown. But that flexibility came from An Ran, who was in a weak position, not from her parents or pushy relatives. In the end, the people who need to be sacrificed are still the ones who are in a weak position, both individually and in the whole structure, which makes people unwilling and uneven.

日本家庭中，如是枝裕和的《步履不停》、山田洋次的《东京家族》以及小津安二郎的《东京物语》。在围绕家庭伦理纠葛和冲突时，我们会发现柔性的宽容或妥协不只是子女们所做，而往往是被认为代表着传统或顽固的父母所做的。他们最终因为亲情放弃执念，成全子女们的选择和心愿。这或许是让我们感动且不会觉得太不甘的原因。

在李安导演的《喜宴》中，最后在机场举起手像是投降的父亲的身影，之所以令人感动也正因为如此。我们最终发现，如胡适对其儿子所言，“我只是碰巧成为了你的父亲，你只是碰巧成为了我的女儿和儿子，我并不是你的前传，你也不是我的续篇。你是独立的个体，是与我不同的灵魂；你并不因我而来，你是因对生命的渴望而来。你是自由的，我是爱你的。” 父母的自我反思或许才是解开亲情死结的第一步。

Neither the aunt nor An Ran finally got concessions from their parents. Instead, they were asked to continue to retreat indefinitely for the sake of their family and brother, and eventually lost their dreams, career and life. Becoming a "devotee" was never a happy prospect for aunt or An Ran. When the "sister" is "mine," although we can feel the closeness and warmth, when the "sister" wants to not just be a sister, but to realize their own life and dreams for themselves, shouldn't the "I" brother support it?Yes, the An Ziheng in the film is too young, but that should not be a reason to ask his sister to sacrifice her life. My aunt had done this, but she was not happy; Kim Ji-young did so, and finally found herself empty, as if trapped by an invisible wall; If An Ran had done the same, she might have been praised by relatives, others or society at large, but in the end it was her own life that she gave up.

Life is not a simple calculation problem, but a complex word problem one after another. You really learn to grow when you learn to understand life's problems one after another. As teacher Luo Xiang（罗翔） said: "No one can always get good cards, but you should always play even the worst cards. If you do encounter these setbacks in your life, then I feel sorry, this is your script. You have two choices. One is to quit the show. One option is to choose and act the script well."

ok，guys. Today's program is over，hope you guys enjoy it，and see you next week.

感谢编辑罗杨柔雪，感谢导播商景奇 肖凯，我是主播杨莹 李晨曦.