越轨叙事在国产青春片中的应用——基于《过春天》的考察
The Application of Deviant Narrative in Domestic Youth Films—A Study Based on The Crossing

新世纪以降，以“怀旧”与“感伤”为母题的国产青春片反复上演。《过春天》将“青春”“校园”和“犯罪”等富于差异性的关键词重新组合，重构了国产青春片的类型范式，为观众带来了陌生化的观影体验。影片取材自港深边界的“走水”案件，通过“跨境学童”佩佩“越轨式”的人生际遇，关联起“青春成长”和“社会反思”的议题。导演也在她桎梏于家庭、沉沦于私欲、堕落于犯罪的故事中，一次次审问了道德、伦理、理性的界限。
Since the beginning of the new century, domestic youth films with “nostalgia” and “sentimentality” as the main themes have been repeatedly staged. The Crossing regroups the different keywords of “youth”, “campus” and “crime”, reconstructs the genre paradigm of domestic youth films, bringing an unfamiliar viewing experience to the audience. The film is based on the “water walking” case at the border of Hong Kong and Shenzhen, and connects the issues of “youth growth” and “social reflection” through Pei Pei’s “deviant” life experiences as a “cross-border student”. The director also interrogates the boundaries of morality, ethics and rationality again and again in her story of being shackled to her family, sinking into selfishness and drifting into crime.