“神秘的皮肤”：同一PTSD硬币的两侧

“两个男孩。一个不记得。另一个不能忘记。” - 不是吗？当创伤击中时，大脑会选择一侧。您不会选择降落的那个。

"Mysterious Skin" is a movie best approached blind, if you can handle it. I’d say I’m a pretty steely viewer. Not much shakes me; I rarely cry at movies, and I’m rarely left feeling rattled. But for a solid 80 percent of Gregg Araki’s effort, I felt like I couldn’t breathe. It’s so visceral it makes you want to clutch your stomach as it turns over and over. It left my chest aching, dragging me along with the runtime.

如果您能处理的话，“神秘的皮肤”是一部最能接近盲人的电影。我会说我是一个非常坚定的观众。没有太多摇动我；我很少在电影哭泣，很少让我感到震惊。但是，对于格雷格·阿拉基（Gregg Araki）的80％的努力，我觉得自己无法呼吸。它是如此内在，使您想在一遍又一遍地转弯时抓住胃。它使我的胸部疼痛，将我拖到运行时。

As trauma is caused and then endured in two very different ways on screen, the film somehow pulls your body into survival mode right alongside it. Brady Corbett plays Brian Lackey, the one who can’t remember. Growing up with this horrendous feeling that something happened but the memory of it is missing, his scenes leave you feeling haunted, aching, and deeply unsatisfied in a conflicting way. Like the character, you’re left feeling terrified by what the memory might be and equally terrified by what it would be like to find it again.

由于造成创伤，然后在屏幕上以两种截然不同的方式忍受，这部电影以某种方式将您的身体纳入生存模式。布雷迪·科贝特（Brady Corbett）扮演不记得的布莱恩·拉基（Brian Lackey）。以这种可怕的感觉成长，发生了一些事情，但记忆却遗失了，他的场景使您感到困惑，酸痛和深深地不满意。像角色一样，您对记忆的可能会感到恐惧，并同样被再次找到它的感觉所恐惧。

When your body enters survival mode during trauma, the hippocampus—the part of your brain responsible for memory—can shut down completely. For some people with PTSD, it never fully switches back on. While many still associate PTSD with vivid flashbacks, like a soldier reliving war, the reality is often the opposite.

当您的身体在创伤期间进入生存模式时，海马（您的大脑负责记忆的一部分）可以完全关闭。对于某些患有PTSD的人来说，它永远不会完全重新打开。尽管许多仍将PTSD与生动的倒叙联系起来，但像士兵重播战争一样，现实通常恰恰相反。

The war is wiped from your memory, but your body still believes it’s fighting. Dissociation, brain fog, and forgetting the trauma entirely are just as much a part of PTSD as remembering. It leaves people feeling exactly like Brian does: cut off, confused, and trapped in a life that seems safe and normal, while the mind remains stuck in a battle it can’t see but can still feel.

战争是从您的记忆中抹去的，但您的身体仍然相信它在战斗。分离，大脑雾和完全忘记创伤是PTSD的一部分，与记住一样。它使人们感觉完全像布莱恩（Brian）那样：切断，困惑和困住了看起来安全和正常的生活，而思想仍然陷入了一场看不见的战斗中，但仍然可以感觉到。

Joseph Gordon-Levitt plays Neil McCormick, the one who can’t forget. Neil lives his life fully and completely within his trauma, so much so that he doesn’t even register it as that. For some, PTSD is an insidious and quiet thing that rumbles deep within them; for others, it is a complete and utter rearrangement, something that touches the skin and the bones and trickles down to the very guts of a person. Neil embodies that. Not only is he completely aware of his trauma, he is shaped by it. He behaves exactly like his abuser and continues to perpetrate the abuse he faced against others, but mostly against himself, well into his teenage years.

约瑟夫·戈登·莱维特（Joseph Gordon-Levitt）扮演尼尔·麦考密克（Neil McCormick），这是不能忘记的人。尼尔（Neil）充分地生活在自己的创伤中，以至于他甚至没有这样登记。对于某些人来说，PTSD是一件阴险，安静的事物，内部隆隆出来。对于其他人来说，这是一个完整而完全的重新安排，可以触动皮肤，骨头并滴入一个人的胆量。尼尔体现了这一点。他不仅完全意识到自己的创伤，而且还被它塑造。他的举止完全像施虐者，并继续犯下他对他人面临的虐待，但大多数是在他的十几岁的时候。

But again, the character is tackling nuanced misconceptions about trauma responses. The stereotype is that trauma makes a person scared, and so they will spend their lifetime running and avoiding what scared them. It’s assumed that no one wants to be reminded of the bad thing that happened, so they naturally become completely averse to it, but that’s not true.

但是，这个角色再次解决了对创伤反应的细微误解。刻板印象是创伤使一个人感到害怕，因此他们将一生跑步并避免害怕他们的事情。假设没有人想让发生的坏事让人自然地对它完全不反感，但这不是事实。

There are several newer films that handle this beautifully, like Poor Things or Nosferatu, which both pick apart the nuanced connection between trauma and hypersexuality or people’s tendency to run towards their trauma. This is because PTSD can make that ugly situation feel oddly comforting due to its familiarity. But in this 2004 portrayal, or even the original 1995 book, the way it’s handled is quite novel for its time. Just as how Brian’s scenes leave you feeling his disorientation, you also end up feeling Neil’s emotional extremes in his scenes.

有几部新的电影可以很好地处理这部电影，例如糟糕的事物或nosferatu，它们既散发了创伤与性爱之间的细微差别联系，又可以挑战人们朝着创伤奔波的倾向。这是因为PTSD可以使这种丑陋的情况由于熟悉而感到奇怪的安慰。但是，在这本2004年的刻画，甚至是1995年的原始书籍中，其处理方式在当时都是非常新颖的。正如布莱恩（Brian）的场景如何使您感受到他的迷失方向一样，您最终也会在他的场景中感受到尼尔的情感极端。

His story arc makes you feel utterly manic, in moments completely thrilled and giddy as he runs around in a storm of sexual chaos, but then, when it splinters, the fear in those scenes is both utterly overwhelming and masterfully numbing. Like the brain going quiet in freeze mode, a typical third option to fight or flight, Araki once again pushes his viewer directly into the experience of a trauma response.

他的故事弧使您感到完全躁狂，在他在性混乱的风暴中跑来跑去时，完全激动和头晕，但是随后，当它碎裂时，这些场景中的恐惧既令人沮丧又令人麻木。就像大脑在冻结模式下保持安静，这是战斗或飞行的典型第三种选择一样，阿拉基再次将观众直接推向创伤反应的体验。

Even as both sides converge, when the two boys meet, and the memory of their shared trauma is made known to both, neither can offer a resolution. The film ends as gut-wrenchingly as it began, as the commitment to depicting PTSD endures with a suitably tricky ending, staying as a reminder that no disorder is ever neatly packaged. The rewiring of the brain that trauma causes can’t be solved with a happy ending, if at all.

即使双方都融合了两个男孩相遇，并且对他们共同的创伤的记忆也被众所周知，这两个男孩都无法提供解决方案。这部电影的结束是最开始的，就像描绘PTSD持久的承诺一样，以一个棘手的结局来忍受，以提醒人们，没有混乱的包装整齐。大脑的重新布线是创伤原因无法通过幸福的结局来解决。