对看完了解制片过程与背景故事很有帮助 https://www.vice.com/en/article/88njp3/director-dina-amer-on-the-true-story-behind-the-film-you-resemble-me
The coroner, this white French woman, was describing to us what we were about to see, and saying how [Hasna’s] nose was decomposed. Everyone was just silent. And Mariam interjected and she's like, “You're describing this corpse—that's not my sister. If you want to know who my sister is, I'll show you.” And she took out her phone and started swiping through images of her sister with a cowboy hat on, partying on the beach—different snapshots of Hasna. She was like, “This is my sister. She was broken. She was confused. She didn't know who she was. But she couldn't kill someone.”
Then we saw the body. Mariam was up against the glass, and she was crying hysterically. The mom didn’t get close to the body. She was doing loud incantations of prayer. And the coroner was in the back of the room being like, Are we even in France now?
As Mariam was walking down the stairs—and she was completely a wreck, she had to be helped down the stairs—she was saying, “At least her head was attached to her body. I was so scared it wouldn't be. I didn't know what I was gonna see.” And the mom took Mariam's hand and she said, “Mariam, you shouldn't wear nail polish. Nail polish is of the devil.” And Mariam stopped crying and she said, “There was nothing wrong with Hasna. The only thing that was wrong with her was that she was born into this family. I want to stay as far away from all of you as possible.”
That's when I understood, like, OK: This is not just a terror headline. This is about a dysfunctional family, and that is a universal lens. I was never interested in making a film about terrorism. I was interested in making a film about: Who is this woman? What is her life? What is her journey?
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