Gazawood Dreams - Hidden Compass
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我们的文章是由人类（而不是生成人工智能）撰写的。
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This story has been republished in the Hidden Compass Legacy Issue in celebration of reaching 100,000 readers.
这个故事已在《隐藏指南针遗产》杂志上重新出版，以庆祝读者数量达到 100,000 名。
T he doorway is sealed shut with thick concrete.
门口用厚厚的混凝土密封起来。
Above the entryway, the large, ocean blue signage announcing Gaza City’s al-Nasr picture house is half hidden by unpruned trees.
入口上方，巨大的海蓝色标牌上写着加沙城的纳斯尔图片馆，一半被未修剪的树木遮住。
It’s the late 1990s and two young brothers — 10 years old, 12 at most — have somehow found a way in.
那是 20 世纪 90 年代末，两个弟弟——10 岁，最多 12 岁——不知何故找到了出路。
The boys, who call themselves Tarzan and Arab, stand in the dank, abandoned projector’s booth and look out over the row of seats below, ripped and broken and covered in a coating of filth and dust.
男孩们自称“人猿泰山”和“阿拉伯人”，他们站在潮湿的环境中，废弃了放映机的展位，眺望下面的一排座位，座位被撕裂、破碎，覆盖着一层污垢和灰尘。
The boys are twins, identical and inseparable.
这两个男孩是双胞胎，一模一样，形影不离。
Al-Nasr, along with all of Gaza’s cinemas, closed in 1987; Tarzan and Arab were born in 1988.
Al-Nasr 以及加沙的所有电影院于 1987 年关闭；泰山和阿拉伯出生于1988年。
They walk up stairs blackened from fire and dirt, and through shafts of light emanating not from a projector but from holes in the building.
他们走上被火和泥土熏黑的楼梯，穿过不是从投影仪而是从建筑物的洞发出的光柱。
Debris crunches underfoot as the boys move through cavernous hallways: rubble, but also discarded strips of film, broken cassette tapes, scattered molehills of garbage, even the bones of dead vermin.
当男孩们穿过洞穴般的走廊时，脚下的碎片嘎吱作响：瓦砾，但也有丢弃的胶卷、破碎的磁带、散落的垃圾堆，甚至还有死去的害虫的骨头。
The paint has cracked and faded on the walls, but dozens of film posters still hang, blistered and browned.
墙上的油漆已经开裂、褪色，但仍有数十张电影海报挂在墙上，已经起泡，呈褐色。
Tarzan and Arab have heard tell of what al-Nasr used to be.
泰山和阿拉伯听说过纳斯尔曾经是什么样子。
They’ve listened to descriptions of the crowds gathering noisily at the ticket window, of the beam of light from the projector and of the huge pictures, of the music emanating from the screen and the whispers from the patrons in their seats, as they were transported away from Gaza, together in the dark.
当他们在黑暗中一起离开加沙时，他们听到了关于拥挤在售票窗口的人群、投影仪发出的光束和巨幅图片、屏幕上发出的音乐以及坐在座位上的顾客的窃窃私语的描述。
The brothers dig through rock for scraps of film.
兄弟俩在岩石中挖掘电影碎片。
Before they leave, they go to the walls and scrape with their fingers at the corners of the faded old posters, peeling them off one by one.
离开前，他们走到墙边，用手指刮着褪色的旧海报的角部，将它们一张一张地剥落。
They’re hard to take down.
他们很难被拿下。
Sometimes, the boys would consider tearing down a chunk of the wall itself — and carrying the whole thing home.
有时，男孩们会考虑拆掉一块墙，然后把整个墙带回家。
Faded film posters remain on the walls of Gaza City’s abandoned al-Nasr movie house.
加沙城废弃的纳斯尔电影院的墙上还残留着褪色的电影海报。
Photo: Xinhua/Alamy.
照片：新华社/阿拉米。
The twins’ dream was to one day see a movie in a cinema.
双胞胎的梦想是有一天能去电影院看一部电影。
They never had, and probably never would.
他们从来没有，也可能永远不会。
They also dreamed of seeing the world outside of Gaza City.
他们还梦想看看加沙城以外的世界。
The street was narrow and lugubrious, sunlight blocked out from the dirt road by residential buildings huddled squat and tight.
街道狭窄而阴郁，土路上的阳光被低矮拥挤的住宅楼挡住了。
At the top of one of these, up stairs covered in graffiti and newspaper, I entered a rooftop studio.
在其中一个的顶部，爬上满是涂鸦和报纸的楼梯，我进入了一个屋顶工作室。
Wooden shelves sagged under the weight of VHS tapes and paperback books and dusty liquor bottles and ancient television sets.
木架子在 VHS 磁带、平装书、布满灰尘的酒瓶和古老电视机的重压下下垂了。
Strips of film hung in curled curtains from the ceiling.
天花板上卷曲的窗帘上挂着几条胶片。
It was late 2011, and I had traveled from London to Gaza to meet Tarzan and Arab, now in their early 20s.
那是 2011 年底，我从伦敦前往加沙，去见了现在 20 岁出头的泰山和阿拉伯人。
By now, the brothers shared another dream: They wanted to be filmmakers.
现在，兄弟俩有了另一个梦想：他们想成为电影制片人。
They called their studio Gazawood.
他们称他们的工作室为 Gazawood。
Its walls plastered in collages of images, Gazawood was like a psychological and emotional bunker, sheltering them from the fighter jets roaring overhead, the whipcrack of rockets firing in the distance, the sectarian arguments in the febrile streets.
加扎伍德的墙壁上贴满了拼贴画，它就像一个心理和情感的掩体，让他们免受头顶呼啸的战斗机、远处火箭发射的噼啪声和狂热街道上的宗派争论的影响。
Israel had “disengaged” from the Gaza Strip in 2005, unilaterally dismantling and evacuating 25 Israeli settlements across the Strip and the West Bank and, in so doing, effectively ending an uncertain peace process between Israel and Palestine that had sputtered from summit to summit throughout the 1990s and all but collapsed since.
2005年，以色列从加沙地带“脱离接触”，单方面拆除并撤离了加沙地带和西岸的25个以色列定居点，此举有效地结束了以色列和巴勒斯坦之间不确定的和平进程，该进程在整个20世纪90年代从一个峰会到另一个峰会都进展缓慢，自那以后几乎崩溃。
In 2006, the militant movement Hamas won Palestine’s legislative elections and consolidated its power in an armed takeover of the Gaza Strip the following year.
2006年，激进运动哈马斯赢得了巴勒斯坦立法选举，并于次年武装接管加沙地带，巩固了权力。
Since then, the conflict between Israel and Palestine had escalated, and kept on escalating.
此后，以色列和巴勒斯坦之间的冲突不断升级。
Tarzan and Arab were very young people …
泰山和阿拉伯都是非常年轻的人……
with no freedom of movement and a life lived to the constant, humming, low-level fear of death created by violence and occupation.
他们没有行动自由，生活在暴力和占领造成的持续不断的、嗡嗡作响的、低度的死亡恐惧之中。
I had just read one of the few articles then written about Tarzan and Arab: the Palestinian twins with the dramatic names, who dreamt of making movies and yet had never been inside a working movie theater.
我刚刚读到了当时为数不多的关于《人猿泰山》和《阿拉伯人》的文章之一：这对巴勒斯坦双胞胎有着戏剧性的名字，他们梦想着拍电影，但从未进入过正在营业的电影院。
Just reading about them provoked in me a strong feeling of kinship.
光是读到他们的故事就激起了我强烈的亲情感。
Because we were nearly the same age, and because the way they spoke about falling in love with movies, watching titles on tape out of their father’s collection, echoed the way I had fallen in love with movies, watching titles on tape out of my father’s collection.
因为我们的年龄几乎相同，而且因为他们谈论爱上电影、观看父亲收藏的磁带上的作品的方式，与我爱上电影、观看父亲收藏的磁带上的作品的方式相呼应。
But also because my mother is Egyptian, and because, on the few occasions when belligerent strangers have temporarily revoked my “whiteness,” hung up on the tan of my skin or the dark curl of my hair, their slur of choice is often to order me to “go back to Palestine,” as if the place itself was synonymous with being less than human.
但也因为我的母亲是埃及人，也因为，在少数情况下，好战的陌生人暂时取消了我的“白色”，挂在我的棕褐色皮肤或我的黑卷发上，他们选择的诽谤往往是命令我“回到巴勒斯坦”，仿佛这个地方本身就是非人类的代名词。
We don’t look that different, them and me, in pictures of ourselves as children.
在我们小时候的照片中，他们和我看起来并没有那么不同。
And yet — because of the respective places we were born — they had no means of travel, had never seen a film at the cinema, and lived under privation and occupation, while I enjoyed every privilege and went to the movies most days of the week, even to see films I knew I wouldn’t like.
然而，由于我们出生的地方不同，他们没有出行方式，从未在电影院看过电影，生活在贫困和占领之下，而我则享受一切特权，一周的大部分时间都去看电影，甚至是看我知道自己不喜欢的电影。
Though it wouldn’t be easy, I could choose to get on a plane and go and see them.
虽然这并不容易，但我可以选择坐飞机去看他们。
They had no option to do the reverse.
他们没有选择做相反的事情。
Yet I already felt jaded — making films had begun to put me in mind of financing applications, rejected screenplays, bouts of unemployment.
然而我已经感到厌倦了——拍电影开始让我想起融资申请、被拒绝的剧本、失业的情况。
While they, with vastly smaller resources and no realistic path forward, had something I lacked: a steadfast faith in the value of moving images.
虽然他们的资源少得多，也没有现实的前进道路，但他们却有我所缺乏的东西：对动态图像价值的坚定信念。
After flying to Cairo, I spent one night on Tahrir Square, which was crowded with flags and protestors, before being picked up at the crack of dawn by a driver I didn’t know.
飞往开罗后，我在解放广场住了一晚，那里挤满了旗帜和抗议者，然后在黎明时分被一位我不认识的司机接走。
It was the first year of the Arab Spring, and the Sinai, my driver told me in rudimentary English, was lawless.
那是阿拉伯之春的第一年，我的司机用简单的英语告诉我，西奈半岛是无法无天的。
We needed to be out of Cairo before the sun was up, so we could be certain to make it across the desert before it went back down.
我们需要在太阳升起之前离开开罗，这样我们就可以确保在太阳落山之前穿过沙漠。
He had one fist on the steering wheel and the other out the window, cigarette glowing between his knuckles and whipped with wind as he dodged and weaved through the thin morning traffic on Ismailia Desert Road.
他一只拳头放在方向盘上，另一只拳头放在车窗外，指节间香烟在燃烧，在风的吹拂下，他在伊斯梅利亚沙漠公路上清晨稀少的车流中穿行。
“Not safe in the dark,” he grumbled with an apologetic smile as we set out on our 230-plus-mile journey.
当我们踏上 230 多英里的旅程时，他带着抱歉的微笑抱怨道：“黑暗中不安全。”
We made no stops and hit Rafah — the one land entrance into Gaza controlled not by Israel, but by Egypt — before the sun dipped.
我们没有停下来，在太阳落山之前袭击了拉法——这是加沙的唯一一个陆地入口，不是由以色列控制，而是由埃及控制。
Of the crossing into Gaza, I remember few vehicles and many loitering men on foot, and a passport office so carpeted in cigarette butts I couldn’t tell the color of the floor beneath.
在进入加沙的过程中，我记得很少有车辆和许多步行闲逛的人，护照办公室铺满了烟头，我无法分辨下面地板的颜色。
I carried a Swiss passport, with a Hamas-approved press visa stamped inside it, and was let through quickly.
我持有瑞士护照，里面盖有哈马斯批准的记者签证，很快就被放行了。
My first impression of Gaza — portrayed in the media as a land of martyrs and suicide bombers — was of sunshine and poverty.
加沙被媒体描述为烈士和自杀式炸弹袭击者的土地，我对加沙的第一印象是阳光和贫困。
Small fishing boats bobbed in the bay.
小渔船在海湾里晃动。
Children bathed in the surf.
孩子们在海浪中沐浴。
Young men in knockoff European football shirts filled coffee shops from which music and the sound of televisions blared, loud enough to reach the opposite side of the street.
穿着仿制欧洲足球衫的年轻人挤满了咖啡馆，音乐和电视的声音震耳欲聋，声音足以传到街对面。
I could hear generators and see that the shops and apartments without them were dark.
我能听到发电机的声音，看到没有发电机的商店和公寓一片漆黑。
And I could not ignore how, every few minutes we traveled in the car, the line of buildings along the side of the road was suddenly interrupted where one of them had been turned to rubble.
我无法忽视的是，我们开车每隔几分钟，路边的一排建筑物就会突然中断，其中一栋已经变成了瓦砾。
Tarzan and Arab’s street was dark, though it was midafternoon.
尽管已经是下午三点左右，泰山和阿拉伯的街道却一片漆黑。
Filthy water stagnated in a long, shallow puddle down the middle of the roadway.
脏水停滞在道路中间的一个又长又浅的水坑里。
A child in stained pajamas stared at me from his family’s front step.
一个穿着脏兮兮的睡衣的孩子在他家门口的台阶上盯着我。
The fixer I had arranged pointed me to the right door, and I went up the stairs.
我安排的修理工把我指向了右边的门，然后我就上了楼梯。
He grinned broadly and waved me in with a hand that held both a cigarette and a cup of tea and somehow kept each away from the other.
他咧嘴一笑，挥手示意我进去，手里拿着一支香烟和一杯茶，不知怎么地让我彼此保持距离。
Tarzan wore a trapper hat with the ear flaps down, though it was nearly 70 degrees Fahrenheit.
尽管气温接近 70 华氏度，泰山还是戴着一顶垂耳帽。
The brothers were tall and large, with thick beards and long hair that flowed over their shoulders.
兄弟俩身材高大，胡须浓密，长发披肩。
They chain-smoked and chain-drank tea.
他们不停地抽烟、不停地喝茶。
A friend of theirs, in jeans and a jersey, moved around the corners of the studio with a camera — taking pictures, documenting everything.
他们的一个朋友穿着牛仔裤和运动衫，拿着相机在工作室的角落里走来走去——拍照，记录一切。
Twin brothers Ahmed and Mohamed Abu Nasser, better known as Tarzan and Arab, hold court in their Gazawood studio in 2010.
2010 年，孪生兄弟艾哈迈德·阿布·纳赛尔 (Ahmed Abu Nasser) 和穆罕默德·阿布·纳赛尔 (Mohamed Abu Nasser)（更广为人知的名字是泰山和阿拉伯）在他们的 Gazawood 工作室里开庭。
Photo: Mohammed Salem/Reuters/Alamy.
照片：穆罕默德·塞勒姆/路透社/Alamy。
Gazawood felt to me like a mix between an artist’s studio and a child’s private attic or treehouse.
加扎伍德给我的感觉就像是艺术家工作室和孩子的私人阁楼或树屋的混合体。
Tarzan and Arab had lived their entire lives in a sliver of land they were not permitted to leave and, unable to go into the world, they had created a world around themselves — as much an escape from Gaza as a celebration of it.
泰山和阿拉伯人一生都生活在他们不被允许离开的一小片土地上，无法进入这个世界，他们在自己周围创造了一个世界——既是对加沙的逃离，也是对加沙的庆祝。
“Some people have complexes and will tell you that cinema is haram,” Arab said.
“有些人有情结，会告诉你电影是非法的，”阿拉伯说。
“But in our view, sins are …” He hesitated.
“但在我们看来，罪孽是……”他犹豫道。
“God created life.
“上帝创造了生命。
Life is very beautiful.
生活是非常美好的。
If you look around you, you’ll find a lot of very beautiful things.
如果你环顾四周，你会发现很多非常美丽的东西。
If you don’t notice those things, that’s a sin.”
如果你不注意到这些事情，那就是一种罪过。”
He got heated, chopping the side of one hand into the palm of the other.
他浑身发热，将一只手的一侧切入另一只手的手掌中。
“If [our father] wanted to teach us something,” Tarzan told me, “he’d say, ‘Let’s go watch a film.’”
“如果（我们的父亲）想教我们一些东西，”泰山告诉我，“他会说，‘我们去看电影吧。’”
The color television set in the family’s living room became the young boys’ door to a wider world.
家里客厅里的彩色电视机成了小男孩们通往更广阔世界的大门。
The TV guide, Arab remembered, was like a schedule of all the possible departures through that gate.
阿拉伯记得，电视指南就像一张时间表，列出了所有可能从那扇门出发的航班。
Their father was the one to give his sons — born Ahmed and Mohamed — their nicknames.
他们的父亲给他的两个儿子——艾哈迈德和穆罕默德——起了昵称。
Tarzan, because he was uninhibited and brave, and because Edgar Rice Burroughs’s noble savage was then immensely popular in old movies and television shows played on Palestine’s TV screens.
人猿泰山，因为他不羁而勇敢，因为埃德加·赖斯·巴勒斯的高贵野蛮人当时在巴勒斯坦电视屏幕上播放的老电影和电视剧中非常受欢迎。
Arab, because he was more serious — clear and grounded.
阿拉伯人，因为他更严肃——清晰、脚踏实地。
When their father — who might have suspected he had accidentally opened a Pandora’s box — limited access to the living room set, the boys bartered around the neighborhood and found televisions to hide in their own room: “We had three without anyone knowing about them,” Tarzan said, hooked up to “a satellite dish we claimed to be using for the radio.” When it was impracticable to watch movies at home, or when their father — by now the principal at their school — made sure they didn’t leave school grounds, they devised a system to smuggle the smallest set into school, using ropes to lift it over the yard wall.
当他们的父亲（他可能怀疑他不小心打开了潘多拉魔盒）限制进入客厅时，男孩们在附近进行物物交换，找到了电视机藏在自己的房间里：“我们有三台电视，但没人知道，”泰山说，连接到“一个我们声称用于收音机的卫星天线”。当在家看电影不切实际时，或者当他们的父亲（现在是学校的校长）确保他们不离开校园时，他们设计了一种系统，将最小的电影偷偷带进学校，用绳子将其从院子的墙上提起。
For every film, however, there was a price of admission.
然而，每部电影都有入场费。
Arab remembered one particular picture — an Egyptian adaptation of The Brothers Karamazov, originally released in 1974 and starring Nour el-Sherif — that they snuck out of school for.
阿拉伯人记得其中一部特别的电影——根据《卡拉马佐夫兄弟》改编的埃及电影，最初于 1974 年上映，由努尔·谢里夫主演——他们为了这部电影偷偷溜出了学校。
“Thirteen lashes,” Tarzan continued.
“十三鞭子，”泰山继续说道。
“We got beat in the cold, at six in the morning, so we could watch that film.”
“我们早上六点就被冻死了，所以我们可以看那部电影。”
Between viewings they dressed up like their favorite stars.
在观看间隙，他们打扮得像他们最喜欢的明星一样。
“Amitab Bahchan’s suits,” Arab fired off from memory.
“阿米塔布·巴坎的套装。”阿拉伯凭着记忆脱口而出。
“Marlon Brando’s T-shirt.
“马龙·白兰度的 T 恤。
Anthony Quinn’s trousers.” They copied the costumes down on paper, saved up their meager allowances, and went to the local tailor to have the outfits re-created.
安东尼·奎因的裤子。”他们把服装抄在纸上，攒下微薄的零用钱，然后去找当地裁缝重新制作服装。
“We were getting into trouble every day about our clothes,” Arab said.
“我们每天都会因为衣服而陷入麻烦，”阿拉伯说。
“‘Go home and get your uniform, or you’re going to get 12 lashes.’”
“‘回家穿上制服，否则你会被鞭打 12 下。’”
But to the twins, those clothes belonged in Gaza as much as they belonged in a Western or a brightly-colored Bollywood melodrama.
但对于双胞胎来说，这些衣服属于加沙，就像它们属于西部片或色彩鲜艳的宝莱坞情节剧一样。
They wore them to match their idea of their world.
他们穿着它们来符合他们对世界的看法。
“I loved it when they sent me to get changed,” Tarzan laughed, drawing on his cigarette.
“我很喜欢他们送我去换衣服，”泰山抽着香烟笑着说。
“I’d just go home and watch a movie.”
“我就回家看电影。”
“I felt like I had spent my life in a dark prison and all of a sudden it was opened, and I was let out into the world.”
“我感觉自己好像在一座黑暗的监狱里度过了一生，突然间它被打开了，我被释放到了外面的世界。”
Arab sat at a table in the open-air section of the roof, painting.
阿拉伯人坐在屋顶露天部分的一张桌子旁画画。
In front of him were kitchen utensils, pots, herbs, a bag of ground coffee.
他面前摆着厨房用具、锅、香草、一袋咖啡粉。
Art supplies were scarce in Gaza, he said.
他说，加沙的艺术品供应很稀缺。
Everything they created, they had to work out from scratch.
他们创造的一切，都必须从头开始。
In this case, Arab was blending paints — out of tomato sauce, thyme, and coffee.
在这种情况下，阿拉伯人正在用番茄酱、百里香和咖啡混合颜料。
As teenagers, the twins’ love of watching films had metastasized into a need to make films.
十几岁的时候，双胞胎对看电影的热爱已经转变为对拍电影的需求。
Even at that age, they had only one certainty about that dream, Arab said: “It never comes true.”
阿拉伯说，即使在那个年纪，他们对这个梦想也只有一个确定性：“它永远不会实现。”
The tension between impossible dreams and domestic immobility was natural, I understood, in a place like Gaza, where stagnation and death are often on your mind.
我明白，在加沙这样的地方，不可能实现的梦想和家庭的停滞不前之间的紧张关系是很自然的，那里的停滞和死亡常常萦绕在你的脑海里。
The CIA’s World Factbook puts the median age in the Strip at 18, with 64% of inhabitants younger than 25.
中央情报局的《世界概况》显示，拉斯维加斯大道的平均年龄为 18 岁，其中 64% 的居民年龄在 25 岁以下。
Tarzan and Arab were very young people, surrounded by other young people, with no freedom of movement and a life lived to the constant, humming, low-level fear of death created by violence and occupation.
泰山和阿拉伯人都是非常年轻的人，周围都是其他年轻人，没有行动自由，他们的生活充满了暴力和占领造成的持续不断的、嗡嗡作响的、低度的死亡恐惧。
Tarzan and Arab didn’t obsess over movies because they thought making them was possible; they obsessed over them because they had no other choice.
人猿泰山和阿拉伯人对电影的痴迷并不是因为他们认为拍电影是可能的。他们痴迷于它们，因为他们别无选择。
They spoke of the Lumière brothers, the inventors of the Cinématographe projector, saying that upon first seeing a film frame on the screen, one of the Frenchmen had said, in Tarzan’s words, “something very pretty — ‘This is the greatest defense against death.’” The quote is almost certainly apocryphal, but it expresses exactly why the twins needed to make movies.
他们谈到电影放映机的发明者卢米埃尔兄弟时说，当第一次看到屏幕上的胶片画面时，其中一个法国人用泰山的话来说，“非常漂亮的东西——‘这是对死亡的最大防御。’”这句话几乎肯定是杜撰的，但它准确地表达了双胞胎需要拍电影的原因。
Their furtive excursions to al-Nasr were like rituals, repeated pilgrimages to the old temple of an extinguished religion.
他们偷偷前往纳斯尔的旅行就像一种仪式，重复前往一个已灭绝宗教的古老寺庙朝圣。
In time they bought an old photo camera and took turns behind it.
后来他们买了一台旧相机，轮流跟在后面。
When they got their hands on their first computer and discovered Photoshop, they sat by the screen for hours, downloading digital movie posters by the hundreds on a slow, intermittent connection, so they could paste their own faces onto the bodies of Hollywood’s leading men.
当他们拿到第一台电脑并发现 Photoshop 时，他们在屏幕前坐了几个小时，通过缓慢、间歇性的连接下载数百张数字电影海报，这样他们就可以将自己的脸粘贴到好莱坞男主角的身上。
“We’d look at a poster for a Clint Eastwood film,” Arab says.
“我们会看克林特·伊斯特伍德电影的海报，”阿拉伯说。
“And we’d think — ‘What’s so different between me and Clint Eastwood?’”
“我们会想——‘我和克林特·伊斯特伍德有什么不同？’”
Tarzan chomps on a cigarillo, lips twisted in a snarl, beard trimmed to an Eastwood-esque grizzle.
泰山嚼着小雪茄，嘴唇扭曲成咆哮声，胡须修剪成伊斯特伍德式的灰色。
He stands under wooden beams in a corner of the Gazawood rooftop.
他站在加扎伍德屋顶一角的木梁下。
“Ready,” Arab calls out.
“准备好了，”阿拉伯喊道。
He wears a white shirt and a black waistcoat.
他穿着白色衬衫和黑色背心。
His hands are tied behind his back.
他的双手被绑在背后。
His head is slipped through a sagging noose.
他的头从下垂的绞索中滑了出来。
Tarzan grabs the other end of the rope, which has been thrown over the highest beam.
泰山抓住绳子的另一端，绳子被扔到最高的横梁上。
He waits for the right moment — and pulls.
他等待合适的时机，然后拉车。
The noose tightens around Arab’s neck and lifts him off his feet.
绞索勒紧了阿拉伯人的脖子，把他抬了起来。
His jaw tightens.
他的下巴绷紧了。
His eyes bulge.
他的眼睛凸出。
After several seconds, fingers clawing at the rope at his throat, he roars out — and Tarzan lets go, releasing his brother to his feet.
几秒钟后，他的手指抓住了喉咙处的绳子，他咆哮起来——泰山松开了手，把他的兄弟放了起来。
It’s 2010, a year before I meet Tarzan and Arab, and they are shooting their first project, a series of posters.
那是 2010 年，我遇见泰山和阿拉伯的前一年，他们正在拍摄他们的第一个项目，一系列海报。
“The idea was,” Arab recalled, “you look at the poster and imagine the film.”
“这个想法是，”阿拉伯回忆道，“你看着海报并想象电影。”
This one is for an imagined Western titled Wooden Leg.
这是一个想象中的西部片，名为“木腿”。
“We hung me two or three times,” Arab added.
“我们把我吊死了两三次，”阿拉伯补充道。
“To get the right reaction.”
“为了得到正确的反应。”
Over the course of several weeks, Tarzan and Arab created 20 posters for 20 nonexistent movies, building film locations in every corner of their rooftop studio.
在几周的时间里，泰山和阿拉伯为 20 部不存在的电影制作了 20 张海报，在屋顶工作室的每个角落都搭建了电影拍摄地。
Each was named after one of the Israeli military operations that defined life in Gaza.
每一个都以定义加沙生活的以色列军事行动之一命名。
That uniting theme wasn’t consciously political at first.
这种团结的主题一开始并不是有意识的政治性的。
“I just thought the person who came up with those names must be from Hollywood,” Tarzan said.
“我只是觉得想出这些名字的人一定来自好莱坞，”泰山说。
“Operation Colorful Journey?
《多彩之旅行动？
What do you mean, colorful?”
色彩缤纷是什么意思？”
Tarzan plays piano in his Gaza home turned makeshift film studio, Gazawood, in 2010, where he and his brother conceived of a project that would create film posters for imagined films named after Israeli military operations.
2010 年，泰山在加沙的家加扎伍德 (Gazawood) 临时搭建的电影工作室里弹钢琴，他和他的兄弟在那里构思了一个项目，为以以色列军事行动命名的想象电影制作电影海报。
Photo: Mohammed Salem/Reuters/Alamy.
照片：穆罕默德·塞勒姆/路透社/Alamy。
The concept was purposefully bittersweet.
这个概念是故意苦乐参半的。
Tarzan and Arab were creating posters for films they knew they would never make, turning military operations with very real and very high death tolls into B-movie fantasies.
泰山和阿拉伯正在为他们知道永远不会制作的电影制作海报，将非常真实且死亡人数非常高的军事行动变成 B 级电影的幻想。
Then Khalil al-Mozian came along.
然后哈利勒·莫齐安出现了。
Mozian is a Palestinian filmmaker of the generation before the twins.
莫齐安是双胞胎前一代的巴勒斯坦电影制片人。
He can remember the cinema first arriving in the refugee camps of his native Rafah when he was a child in the 1970s, and the excitement at Gaza’s own movie houses in the years before they were shut down by Islamists.
他还记得 20 世纪 70 年代，当他还是个孩子的时候，电影院首次出现在他的祖国拉法的难民营中，以及加沙自己的电影院在被伊斯兰主义者关闭之前的几年里的兴奋。
He had studied photography in Jerusalem, film in Saint Petersburg, journalism in Kalmar, Sweden — and had come back to Gaza.
他曾在耶路撒冷学习摄影，在圣彼得堡学习电影，在瑞典卡尔马学习新闻学，然后回到了加沙。
Mozian had lived Tarzan and Arab’s dreams, and he was the first person to tell them theirs could come true.
莫兹安实现了泰山和阿拉伯的梦想，他是第一个告诉他们他们的梦想可以实现的人。
With Mozian’s help, Tarzan and Arab shot Colourful Journey as a seven-minute short film, written and edited to play like a movie trailer.
在莫兹安的帮助下，泰山和阿拉伯将《多彩之旅》拍摄成了一部七分钟的短片，并进行了编写和剪辑，使其像电影预告片一样播放。
The three of them called in every possible favor to get it made.
他们三人竭尽全力才得以完成。
Weapons were borrowed from local militants, recording equipment from news crews, all under false pretenses.
武器是从当地武装分子那里借来的，录音设备是从新闻工作人员那里借来的，所有这些都是以虚假借口进行的。
The short stars Tarzan and Arab as soldiers hunting each other across Gaza’s ruins and, unlike the posters in the series, is less about the Israeli occupation than it is the sectarianism and division among Palestinian factions in the Strip.
这部短片由泰山和阿拉伯主演，讲述了士兵们在加沙废墟上互相追捕的故事，与该系列海报不同的是，这部短片更多地讲述了加沙地带巴勒斯坦派别之间的宗派主义和分裂，而不是以色列的占领。
Mozian brokered support for the film, and the poster series, from the A.M.
Mozian 促成了 A.M. 对这部电影和海报系列的支持。
Qattan Foundation, a nonprofit based in Ramallah.
Qattan 基金会是一家位于拉马拉的非营利组织。
The Foundation granted the twins their Young Artist of the Year award and arranged for the works to be exhibited in venues outside Palestine, including in Europe.
该基金会授予这对双胞胎年度青年艺术家奖，并安排这些作品在巴勒斯坦以外的场所展出，包括欧洲。
The series drew acclaim and attention.
该系列引起了好评和关注。
Tarzan and Arab remained in Gaza.
泰山和阿拉伯人留在加沙。
Hard drives and printed posters could be shipped or smuggled out of Palestine, but human beings were another thing entirely.
硬盘和印刷海报可以运出或走私出巴勒斯坦，但人类完全是另一回事。
To a journalist from Britain’s Guardian, who congratulated them on the attention, Arab admitted a measure of melancholy.
英国《卫报》的一名记者对他们受到关注表示祝贺，对此阿拉伯人承认有一定程度的忧郁。
“Imagine,” he said, shaking his head, “your dream becomes a reality — but you’re not in it.”
“想象一下，”他摇着头说，“你的梦想变成了现实——但你却不在其中。”
The boys, who call themselves Tarzan and Arab, stand in the dank, abandoned projector’s booth and look out over the row of seats below, ripped and broken and covered in a coating of filth and dust.
男孩们自称“人猿泰山”和“阿拉伯人”，他们站在潮湿的环境中，废弃了放映机的展位，眺望下面的一排座位，座位被撕裂、破碎，覆盖着一层污垢和灰尘。
From an altitude of 30,000 feet, Tarzan reflected, America looked like a computer motherboard.
泰山反思道，从 30,000 英尺的高空来看，美国看起来就像一块电脑主板。
Suburban houses on suburban streets like connector slots along circuit tracks.
郊区街道上的郊区房屋就像电路轨道上的连接器插槽。
Neat.
整洁的。
Orderly.
秩序。
A small group of film buffs from Austin, Texas — led by Alamo Drafthouse Cinema founder Tim League — had read about Tarzan and Arab, and seen their short film and their posters, around the same time I first read about the twins, and felt a similar kinship.
来自德克萨斯州奥斯汀的一小群电影爱好者——由 Alamo Drafthouse Cinema 创始人 Tim League 领导——读过《人猿泰山》和《阿拉伯人》，看过他们的短片和海报，大约在同一时间，我第一次读到这对双胞胎，并感受到了类似的亲缘关系。
They had no plans to go to Gaza to meet them — but they did want to fly the brothers to Texas.
他们没有计划去加沙与他们见面，但他们确实想带兄弟俩飞往德克萨斯州。
To go to the movies.
去看电影。
“It was our first time on a plane,” Tarzan said.
“这是我们第一次坐飞机，”泰山说。
“The first time we ever saw the Earth from above.” Arguably, the plane cabin was the most lavish space he and Arab had ever been in.
“这是我们第一次从空中看到地球。”可以说，机舱是他和阿拉伯人住过的最豪华的空间。
Cushioned seats.
带软垫的座椅。
Reliable electricity.
可靠的电力。
A steady flow of drinks and snacks.
源源不断的饮料和小吃。
Individual fans.
个人粉丝。
It had taken weeks to get them there.
他们花了几周时间才到达那里。
It had taken them lying to Hamas in Gaza and to Egyptian border control, inventing an urgent medical emergency to get through Rafah.
他们向加沙的哈马斯和埃及边境管制部门撒谎，发明了紧急医疗紧急情况以通过拉法。
It had taken Tim League’s office lobbying a U.S. Senator into greasing some wheels in Cairo.
蒂姆·利格的办公室游说一位美国参议员为开罗的一些轮子上油。
“All the time,” Arab said, “we kept thinking: We’re going to the cinema.
“一直以来，”阿拉伯说，“我们一直在想：我们要去电影院。
Even if it kills us, we’re going to the cinema.”
就算要了我们的命，我们也要去看电影。”
They were sneaking out to the movie house again, like when they were kids.
他们又像小时候一样偷偷溜进电影院。
Only this time, they were traveling 7,000 miles — and the cinema they were going to was actually showing pictures.
只是这一次，他们行驶了 7,000 英里，而且他们要去的电影院实际上正在放映电影。
It took three flights to get from Cairo to Austin.
从开罗飞往奥斯汀需要三趟航班。
“We spent the whole time looking out the window,” Tarzan said.
“我们一直看着窗外，”泰山说。
Framed in the airline plexiglass was a vantage point so open, so detached from the confines of the Strip, the shelling, the gunfire, the sirens, even their studio.
航空公司的有机玻璃中是一个如此开放的有利位置，如此远离拉斯维加斯大道、炮击、枪声、警报声，甚至他们的工作室。
When you’re that far above something — maybe a little bit like God — “nothing is out of place,” Tarzan smiled.
当你远远高于某物时——也许有点像上帝——“没有什么是不合适的，”泰山微笑着说。
“There’s nothing unnecessary.”
“没有什么不必要的。”
The Alamo Drafthouse Ritz, on Austin’s Sixth Street, wasn’t as grand as al-Nasr had been.
位于奥斯汀第六街的阿拉莫库房丽兹酒店并不像纳斯尔那样宏伟。
But it had two working screens and neon signage.
但它有两个工作屏幕和霓虹灯标牌。
The seats were full.
座位已经满了。
For the film that would be their first in a cinema, Tarzan and Arab had chosen their own short film — a project through which they had found meaning in Gaza’s suffering — followed by Ingmar Bergman’s Cries and Whispers, a film about finding meaning in hardship and sorrow.
对于这部他们的第一部电影院电影，泰山和阿拉伯选择了自己的短片——通过这个项目，他们在加沙的苦难中找到了意义——接下来是英格玛·伯格曼的《呼喊与低语》，一部关于在苦难和悲伤中寻找意义的电影。
When Tarzan and Arab walked across the cinema’s tiled forecourt and into the lobby, their eyes were wide and their expressions frozen in a mixture of wonder and trepidation.
当泰山和阿拉伯穿过电影院铺着瓷砖的前院进入大厅时，他们睁大了眼睛，表情凝固在惊奇和恐惧之中。
What struck Arab most was the smell — of popcorn and air-conditioning, sugar and salt.
最令阿拉伯人震惊的是爆米花、空调、糖和盐的气味。
Tarzan was convinced he could “smell the film, smell the screen.”
泰山确信他可以“闻到电影的味道，闻到屏幕的味道”。
“I’d only seen movie theaters and what’s in them in movies,” Arab added.
“我只看过电影院和电影里的内容，”阿拉伯补充道。
“I felt like I had spent my life in a dark prison and all of a sudden it was opened, and I was let out into the world.”
“我感觉自己好像在一座黑暗的监狱里度过了一生，突然间它被打开了，我被释放到了外面的世界。”
The phone calls began a few weeks after their return to Gaza.
他们返回加沙几周后就开始打电话。
They came during the day and in the middle of the night.
他们白天来，半夜来。
They were intended for Tarzan and Arab’s father.
它们是为泰山和阿拉伯人的父亲准备的。
Your sons should dress more decently.
你的儿子应该穿得更得体一些。
They do not look like Muslims.
他们看起来不像穆斯林。
Then came the decrees from the Ministry of Culture, banning the posters and the short film.
随后文化部颁布法令，禁止海报和短片。
And then came Tarzan and Arab’s arrests, by summons to the police station or by ambush in the streets.
然后泰山和阿拉伯人被逮捕，被传唤到警察局或在街上伏击。
Who invited you to travel abroad?
谁邀请你出国旅游的？
Who paid for it?
谁付钱了？
What did you do?
你做了什么？
Always there were warnings and insults.
总是有警告和侮辱。
Often, the brothers were beaten.
兄弟俩常常遭到殴打。
The phone calls continued.
电话还在继续。
Tarzan and Arab’s father stopped answering the telephone.
泰山和阿拉伯的父亲不再接电话。
The callers left messages instead.
来电者却留言了。
The warnings became threats.
警告变成了威胁。
In 2012 — the year after I first met them, and the year after their brief trip to Austin — Tarzan and Arab fled Gaza.
2012 年，即我第一次见到他们的第二年，也是他们短暂前往奥斯汀旅行后的第二年，泰山和阿拉伯逃离了加沙。
Hamas in Gaza, and Hamas-affiliated militants, had been harassing them and their family for months.
加沙的哈马斯和哈马斯附属武装分子几个月来一直骚扰他们及其家人。
The aggressors were upset at being tricked, both in the making of Colourful Journey and in Tarzan and Arab’s smuggling themselves into Egypt.
无论是在《多彩之旅》的制作中，还是在《人猿泰山》和《阿拉伯人》偷渡埃及的过程中，侵略者都对被欺骗感到不满。
They were upset at Tarzan and Arab’s flamboyant clothes and public celebration of the movie house, a place the fundamentalists considered little more than a temple to pornography.
他们对泰山和阿拉伯人的华丽服装和对电影院的公开庆祝感到不安，原教旨主义者认为电影院只不过是色情圣殿。
They were upset at the twins’ sudden notoriety, and how they used it to openly criticize the authorities in Gaza.
他们对这对双胞胎突然声名狼藉以及他们如何利用它公开批评加沙当局感到不安。
To a local Texan journalist, the brothers had even dared to express open support for a two-state solution.
对一位德克萨斯当地记者来说，兄弟俩甚至敢于公开支持两国解决方案。
(“We live, and they live,” Tarzan suggests on the newscast, with the air of a man who cannot, for the literal life of him, understand how anyone would disagree.
（“我们活着，他们也活着，”泰山在新闻广播中暗示道，他的神情就他的实际生活而言，无法理解任何人会如何不同意。
“Why not?”)
“为什么不呢？”）
Ultimately, the intimidation and harassment were too much to bear.
最终，恐吓和骚扰令人难以承受。
Their parents told Tarzan and Arab to leave.
他们的父母让泰山和阿拉伯离开。
The threats were serious.
威胁是严重的。
So, in September 2012, the brothers packed suitcases in a hurry and exiled themselves under cover of darkness.
于是，2012年9月，兄弟俩匆匆收拾行李，趁着夜色的掩护，流放了自己。
They got as far as Amman, Jordan, where they were questioned for an hour and let go, temporary refugees.
他们最远抵达约旦安曼，在那里接受了一个小时的询问，然后释放了临时难民。
“We didn’t choose to go,” Arab insists.
“我们没有选择去，”阿拉伯坚持说。
“We didn’t have another option.”
“我们没有其他选择。”
They had always dreamt of leaving, but not like this.
他们一直梦想着离开，但不是这样。
Like this, they may never be able to come back, and that isn’t freedom — that’s being locked out instead of in.
像这样，他们可能永远无法回来，这不是自由——那是被锁在外面而不是里面。
In Amman, the brothers made another short film, this one with the support of other expatriate Palestinian artists and entrepreneurs.
在安曼，兄弟俩制作了另一部短片，这部短片得到了其他外籍巴勒斯坦艺术家和企业家的支持。
They gave it the unwieldy title of Condom Lead, a pun that works better in Arabic than it does in English.
他们给它起了一个笨拙的标题“Condom Lead”，这个双关语在阿拉伯语中比在英语中更有效。
The film is about attempts to maintain intimacy and desire when under siege.
这部电影讲述的是在被围困时试图保持亲密和欲望的故事。
It became the first short film by Gazan filmmakers ever selected in competition at the Cannes Film Festival.
它成为加沙电影制片人第一部入选戛纳电影节竞赛单元的短片。
The studio is covered in posters and cutouts and fragments of art on the walls.
工作室的墙上贴满了海报、剪纸和艺术碎片。
The wooden shelves are weighted down with books, cassettes, old televisions.
木架子上堆满了书籍、磁带和旧电视机。
Every surface is covered in rugs, throws, shags.
每个表面都覆盖着地毯、休闲毯和粗毛。
High in one corner, Yasser Arafat smiles from the center of a railway station clock.
高高的角落里，亚西尔·阿拉法特站在火车站时钟的中央微笑着。
Tarzan and Arab sit close together on separate couches.
泰山和阿拉伯紧挨着坐在不同的沙发上。
In one hand Arab holds both a cigarette and a cup of tea, and somehow keeps one away from the other.
阿拉伯人一手拿着一支香烟，一手拿着一杯茶，并以某种方式将其中一个与另一个分开。
They have just finished their second feature film.
他们刚刚完成了第二部故事片。
The first, Dégradé, came out in 2015, and is about women trapped in a Gaza beauty salon when a tiger is stolen from a Hamas-run zoo by a local gangster.
第一部《Dégradé》于 2015 年上映，讲述了当地黑帮从哈马斯经营的动物园偷走一只老虎后，妇女被困在加沙美容院的故事。
This one, titled Gaza, Mon Amour, is a tender story of late-life love between a Gaza fisherman and a woman who works at the city market.
这部作品名为《加沙，我的爱》，讲述了一位加沙渔民和一位在城市市场工作的妇女之间晚年爱情的温柔故事。
In the coming weeks it will premiere at the prestigious Venice Film Festival, and be selected by a Palestinian committee, under the supervision of the Ministry of Culture, as Palestine’s official Oscar submission in the Best International Film category.
未来几周，该片将在著名的威尼斯电影节上首映，并由文化部监督下的巴勒斯坦委员会评选为巴勒斯坦官方提交的奥斯卡最佳国际电影奖。
In 2020, Tarzan and Arab released their second feature film, Gaza, Mon Amour.
2020 年，泰山和阿拉伯发行了他们的第二部故事片《加沙，我的爱》。
Photo: Les Films du Tambou/Album/Alamy.
照片：Les Films du Tambou/Album/Alamy。
The twins and I are about to talk about movies again, for the first time in several years.
我和双胞胎即将再次谈论电影，这是多年来的第一次。
“It never comes true,” Arab had once told me of their childhood dream, and yet here they are.
“这永远不会实现，”阿拉伯曾经告诉我他们童年的梦想，但他们就在这里。
Acclaimed, well-known filmmakers.
备受赞誉的知名电影制片人。
Free to travel the world.
免费环游世界。
Accustomed to red carpets and Q&A sessions and standing ovations.
习惯了红地毯、问答环节和起立鼓掌。
On the other side of the window, the French city of Montereau-Fault-Yonne is pale and gray.
窗户的另一边，法国城市蒙特罗-断层-约讷是苍白和灰色的。
I grew up just an hour’s drive north of here.
我在距这里以北仅一小时车程的地方长大。
Entirely by coincidence, this is where Tarzan and Arab have chosen to settle.
纯属巧合，泰山和阿拉伯人选择在这里定居。
Amman was too close to Gaza.
安曼离加沙太近了。
Too complicated.
太复杂了。
They chose France partly because artists’ visas were offered to them, and partly, again, because of images: the one of the country they had built in their minds, the ones they had seen of Truffaut and Godard and cigarettes and coffee, of the Nouvelle Vague ’s young filmmakers with their handheld 16mm cameras and their uncompromising passion.
他们选择法国，部分是因为向他们提供了艺术家签证，还有部分是因为图像：他们在脑海中建立的国家，他们看到了特吕弗和戈达尔、香烟和咖啡，看到了新浪潮的年轻电影制作人手持 16 毫米相机和他们不妥协的热情。
Today, the twins — now in their early 30s — are easier to tell apart, even in identical eyeliner and black combat boots, as they’ve sported in countless red carpet photographs.
如今，这对 30 岁出头的双胞胎更容易区分，即使是同样的眼线和黑色军靴，因为他们在无数的红毯照片中都有过表现。
They’re impossible to miss or peel your eyes away from.
您不可能错过它们，也无法将它们从您的视线上移开。
Their appearance is curated — natural but not at all spontaneous.
他们的外表是精心策划的——自然但绝不是自发的。
At the Venice Biennale they attended in leather jackets (one short, one long) and broad collar necklaces (one gold, one silver) over the same black trousers (the hem of one pair trimmed with scissors, the other rolled).
在威尼斯双年展上，他们穿着皮夹克（一短一长）和宽领项链（一金一银），搭配同一条黑色裤子（一条的下摆用剪刀修剪，另一条卷起）。
But the telltale differences are there.
但明显的差异是存在的。
Arab’s mane is shaggier; Tarzan’s beard is waxed to a neater point.
阿拉伯人的鬃毛比较蓬松；泰山的胡子被打蜡处理得更加整齐。
Their personalities have reversed from those that prompted their nicknames.
他们的性格与那些给他们起了绰号的人完全相反。
Now Arab is the gregarious, outgoing, talkative one, a Cheshire cat smile wrapped in black fleece and clouds of cigarette smoke.
现在的阿拉伯人是那种合群、外向、健谈的人，就像柴郡猫一样微笑着，脸上裹着黑色羊毛和烟雾缭绕的烟雾。
Tarzan is quieter.
泰山比较安静。
It’s hard to tell if he’s intense, or simply guarded.
很难判断他是很热情，还是只是很谨慎。
The brothers argue about small things, but never about big ones.
兄弟俩只为小事争论，却从不为大事争论。
“We are one head, with two bodies,” is how Arab describes it.
“我们是一个头，有两个身体”，阿拉伯人这样描述。
Gazawood was like a psychological bunker, sheltering them from the fighter jets roaring overhead, the whipcrack of rockets firing in the distance, the sectarian arguments in the febrile streets.
加扎伍德就像一个心理掩体，保护他们免受头顶呼啸的战斗机、远处火箭发射的噼啪声和狂热街道上的宗派争论的影响。
The studio in Montereau is a time capsule.
蒙特罗的工作室是一个时间胶囊。
On one side of the door is France.
门的一侧是法国。
On the other side, somehow, is a version of the studio in Gaza.
不知何故，另一边是加沙工作室的一个版本。
Here is the art, and the posters, and the rugs.
这是艺术品、海报和地毯。
The ashtrays and the teacups.
烟灰缸和茶杯。
These are the belongings with which they packed their suitcases, in the fall of 2012.
这些是 2012 年秋天他们收拾行李时携带的物品。
Every place the twins moved into after Gazawood felt empty, at first.
加扎伍德之后，双胞胎搬到的每一个地方，一开始都感到空虚。
“So every time we fill them,” Arab says, “until we cover up what it was.”
“所以每次我们都填满它们，”阿拉伯说，“直到我们掩盖它是什么。”
Things in France are “easy,” Arab tells me with a sad smile, “but I wouldn’t say that I am happy.
阿拉伯人悲伤地微笑着告诉我，法国的事情很“轻松”，“但我不会说我很快乐。
I cannot say that I am happy.
我不能说我很幸福。
France isn’t home.”
法国不是家。”
The twins haven’t been back to Gaza since they were forced out, and may never be able to return.
自从被迫离开以来，这对双胞胎就没有回到过加沙，而且可能永远无法返回。
They shot Dégradé and most of Gaza, Mon Amour in Jordan.
他们拍摄了《Dégradé》和加沙大部分地区以及约旦的《Mon Amour》。
Gaza’s seaside market, as portrayed in the latter film, was re-created in Portugal.
后一部电影中描绘的加沙海滨市场在葡萄牙重现。
When I first met the twins, a decade ago, they told me they would never direct a film set anywhere other than Gaza.
十年前，当我第一次见到这对双胞胎时，他们告诉我，他们永远不会在加沙以外的地方执导电影。
Back then, they wanted to show the world the Strip was more than stereotypes held it to be, and that’s still true today.
当时，他们想向世界展示拉斯维加斯大道不仅仅是人们所认为的那样，今天仍然如此。
But there’s something more to it now: making films is how they go home.
但现在还有更多的事情要做：拍电影是他们回家的方式。
“When we are filming,” Arab says, “it’s like being back in Gaza.
“当我们拍摄时，”阿拉伯说，“就像回到了加沙。
We choose every object; we design every set.
我们选择每一个对象；我们设计每一套。
Every detail.
每个细节。
If you asked us why we make films,” he smiles, “I would tell you: the idea of creation.
如果你问我们为什么拍电影，”他微笑着说，“我会告诉你：创作的想法。
To be a creator.
成为一名创造者。
Like — you know, the small god, which is to create.
就像——你知道，小神，就是创造。
Le petit dieu.”
Le petit dieu”。
I’ve always thought of the twins’ love of film as escapism, but it strikes me now it’s as much about order — about things playing out in a way that has meaning.
我一直认为双胞胎对电影的热爱是一种逃避现实，但现在让我印象深刻的是，这同样关乎秩序——关乎事情以一种有意义的方式进行。
One thing leading to the other.
一件事导致另一件事。
Nothing out of place.
没有什么不合适的地方。
Nothing unnecessary.
没有什么不必要的。
Their lives are the opposite.
他们的生活却截然相反。
They make films now, but they no longer have access to the home they want to film.
他们现在拍电影，但他们不再能够进入他们想要拍摄的家。
They are free to travel, but at the cost of having been displaced.
他们可以自由旅行，但代价是流离失所。
They craft their films painstakingly.
他们精心制作电影。
The stories are fiction, but they fill the scripts with characters and incidents from their own past in Gaza.
这些故事是虚构的，但剧本中充满了他们自己过去在加沙的人物和事件。
They write parts expressly for Palestinian actors who will understand them: Hiam Abbass, Salim Daw, Maisa Abd Elhadi, Manal Awad.
他们专门为能够理解他们的巴勒斯坦演员编写部分：Hiam Abbass、Salim Daw、Maisa Abd Elhadi、Manal Awad。
It feels better to re-create Gaza than forget it.
重建加沙比忘记它感觉更好。
Sometimes, leaving — when you don’t choose the when, or the how, or the how long — is the opposite of moving on.
有时，离开——当你没有选择何时、如何或多久时——与继续前进相反。
Old homes and new overlap, like a double exposure, two realities in one frame of existence.
老房子和新房子重叠，就像双重曝光，两个现实存在于一个框架中。
“Gaza isn’t like elsewhere,” Arab says.
“加沙与其他地方不同，”阿拉伯说。
“All over the world, humanity is everywhere.
“在世界各地，人性无处不在。
But Gaza is our doorway.”
但加沙是我们的门户。”
As of May 2023, Tarzan and Arab remain in France, still unable to return to Gaza.
截至2023年5月，泰山和阿拉伯仍留在法国，仍无法返回加沙。
Paul Fischer is an author, screenwriter, and filmmaker.
保罗·费舍尔是一位作家、编剧和电影制片人。
Born in Saudi Arabia and raised in France, he now lives in the United Kingdom.
他出生于沙特阿拉伯，在法国长大，现在住在英国。
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