Petzold’s film constitutes a radical translation of Seghers’ novel by transforming her tale of political refugees in Vichy France into an existential allegory depicting the fluidity of identities and relationships in a globalized world. The transitory existence of Petzold’s war refugee serves as an extreme example of the instability of modern life, which allows spectators to identify and empathize with migrants’ unpredictable journeys. Moreover, the director conveys the universality of his protagonist’s story by portraying him as an Everyman bereft of distinctive personality traits, by intermingling the past (Seghers’ plot) with the present (contemporary settings), and by situating his experiences in non-descript, liminal “non-places.” Both thematically and aesthetically, narrative is portrayed as establishing a community in an unstable contemporary world. Like the anti-hero of many modern Bildungsromane, Petzold’s protagonist fails to develop a stable identity and enduring friendships that anchor him in a community, but he creates his own family of listeners through his storytelling. In a similar vein, the film’s voice-over/narrator that bridges the fictional world with that of the audience underscores the film’s (and the novel’s) central theme: in a world of rapid change and mobility, the individual who may not be able to establish a stable identity or relationships, can create, as a narrator, a community of empathic listeners.

中文翻译：

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难民时代的移情与社区：佩佐尔德对西格尔过境的激进翻译

彼得佐尔德的电影通过将她在维希法国的政治难民的故事转变成描述存在于全球化世界中身份和关系的流动性的存在寓言，构成了塞格尔斯小说的根本翻译。Petzold战争难民的短暂存在是现代生活不稳定的一个极端例子，这使观众能够识别并理解移民的不可预测的旅程。此外，导演通过将主人公描绘成具有独特人格特质的“每个人”，通过将过去（西格斯的情节）与现在（当代环境）融合在一起，并通过将他的经历描述为非描述性的方式，来传达主人公故事的普遍性。边缘“非场所”。在主题和美学上，叙事被描绘为在一个不稳定的当代世界中建立一个社区。像许多现代的反英雄Petzold的主角Bildungsromane未能建立稳定的身份和持久的友谊，这使他融入了社区，但他通过讲故事创建了自己的听众家庭。同样，电影的配音/旁白/叙事者将虚构的世界与观众的桥梁联系在一起，突显了电影（和小说）的中心主题：在瞬息万变的世界中，个人可能无法建立稳定的身份或关系，可以创建一个解说员共鸣的听众社区。