Twin tales are short on survivors. On the one hand is the threat of implosion; on the other, outsiders can shatter the twin relationship. This fine line is walked by Quentin and Antoine, the protagonists of Pascal Alex Vincent’s Donne-moi la main (2008), who hitchhike from France to Spain to attend their mother’s funeral. Vincent’s film is both a twin tale and a road movie. In this mix, there is the potential for generic conflict since, in contrast to the claustrophobia of the twin relationship, the road movie emphasises a mobility which is emancipatory. Drawing on the work of Juliana de Nooy and on theory relating to the road movie, this article examines how Vincent’s film juggles the restrictions of the twin tale with the freedom of the road. In doing so, it questions the extent to which the road movie might offer liberation from hegemonic masculinity for its protagonists.

中文翻译：

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双重束缚和双重动作：帕斯卡·阿历克斯·文森特（Pascal Alex Vincent）的《多恩·莫伊》（Donne-moi la main）（2008）中的男子气概，机动性和兄弟般的竞争

幸存者简直没有双胞胎的故事。一方面是内爆的威胁。另一方面，局外人可以打破双胞胎的关系。Pascal Alex Vincent的Donne-moi la main（2008）的主人公Quentin和Antoine走了这条细线，他们从法国搭便车前往西班牙参加母亲的葬礼。文森特的电影既是双胞胎故事，​​也是公路电影。在这种混合中，存在潜在的普遍冲突，因为与双胞胎关系的幽闭恐惧症相反，公路电影强调的是解放性的流动性。本文借鉴朱莉安娜·德·诺伊（Juliana de Nooy）的著作以及与公路电影有关的理论，研究了文森特的电影如何通过公路自由兼顾双胞胎故事的局限性。在这样做，