Most Hollywood movies are about romantic love, or at least sex. But Christopher Nolan’s epic movie “Interstellar” has almost no couples, so you don’t get the charged romance you have in normal movies where a man and a woman are off saving the world.
大多数好莱坞电影讲的都是爱情，至少是性。然而克里斯托弗·诺兰(Christopher Nolan)的史诗电影《星际穿越》(Interstellar)却几乎没有情侣，所以观众不会感受到普通的电影里那种感情充沛的浪漫氛围，也没有普通电影里一对男女勇往直前拯救世界的情节。
Instead, there are the slightly different kinds of love, from generation to generation, and across time and space.
取而代之的是，剧中展示了一种不大一样的爱，是上一代与下一代之间，穿越时间和空间的爱。

The movie starts on a farm, and you see a grandfather’s love for his grandkids and the children’s love for their father. (Mom had died sometime earlier).
情节从一个农场开始，你能看到祖父对孙辈的爱，也能看到孩子对父亲的爱（母亲此前已经去世）。
The planet is hit by an environmental catastrophe, and, in that crisis, lives are torn apart. The father, played by Matthew McConaughey, goes off into space to find a replacement planet where humanity might survive. The movie is propelled by the angry love of his abandoned daughter, who loves and rages at him for leaving, decade after decade.
地球遭受了环境灾难，而在这场危机中，人们的生活都被撕裂了。马修·麦康纳(Matthew McConaughey)饰演的父亲飞向太空，试图寻找一个替代行星，来让人类存活下去。被他丢下的女儿心中愤怒的爱推动了剧情的发展，十年又十年，她爱着父亲，又因为父亲的离去而怒不可遏。
On top of that, there is an even more attenuated love. It’s the love humans have for their ancestors and the love they have for the unborn. In the movie, 12 apostles go out alone into space to look for habitable planets. They are sacrificing their lives so that canisters of frozen embryos can be born again in some place far away.
除此之外，还有一种更含蓄的爱。那就是人类对祖先的爱，以及对尚未出生的后代的爱。在电影中，12门徒各自走向太空，寻找适宜居住的行星。他们为了让罐中冷冻的那些胚胎能在一个遥远的地方出生，愿意牺牲自己的生命。
Nolan wants us to see the magnetic force of these attachments: The way attachments can exert a gravitational pull on people who are separated by vast distances or even by death. Their attention is riveted by the beloved. They hunger for reunion.
诺兰希望我们看到这些牵挂所具有的磁力。即使人们相隔遥远，甚至阴阳两隔，这种牵挂仍然能产生万有引力一般的牵引作用。他们的注意力始终凝聚在挚爱亲人身上。他们渴盼重逢。
When the McConaughey character goes into space he leaves behind the rules of everyday earthly life and enters the realm of quantum mechanics and relativity. Gravity becomes variable. It’s different on different planets. Space bends in on itself. The astronauts fly through a wormhole, a fold in the universe connecting one piece of space with another distant piece.
麦康纳的角色进入太空时，丢掉了地球日常生活的规则，进入了由量子物理和相对论统治的领域。重力开始变化，在不同的行星上不尽相同。空间自身发生扭曲，宇航员穿越虫洞，它是宇宙中的褶皱，将一块空间与另一块空间相连。
Most important, time changes speed. McConaughey is off to places where time is moving much more slowly than it is on Earth, so he ends up younger than his daughter. Once in the place of an ancestor, he becomes, effectively, her descendant.
最重要的是，时间还会改变速度。在麦康纳飞去的空间，时间的行进比地球上慢得多，所以最后他比女儿还要年轻。本来他是一位前辈，却基本上成了女儿的后人。
These plotlines are generally based on real science. The physicist Kip Thorne has a book out, “The Science of Interstellar,” explaining it all. But what matters in the movie is the way science and emotion (and a really loud score) mingle to create a powerful mystical atmosphere.
这些情节大体上基于真实的科学原理。物理学家基普·索恩(Kip Thorne)出版了一本书《星际穿越背后的科学》(The Science of Interstellar)，解释了所有科学原理。然而这部电影中最重要的特点是，科学与情感（以及响亮的背景音乐）怎样融合在一起，创造出了强有力的神秘氛围。
Nolan introduces the concept of quantum entanglement. That’s when two particles that have interacted with each other behave as one even though they might be far apart. He then shows how people in love display some of those same features. They react in the same way at the same time to the same things.
诺兰介绍了量子纠缠的概念，即两个粒子发生互动，即使相隔甚远，也像是一个粒子那样运动。之后他又展示了，挚爱的人也会表现出相同的一些特质。他们会在相同的时间对相同的事做出相同的反应。
The characters in the movie are frequently experiencing cross-cutting and mystical connections that transcend time and space. It’s like the kind of transcendent sensation you or I might have if we visited an old battlefield and felt connected by mystic chords of memory to the people who fought there long ago; or if we visited the house we grew up in and felt in deep communion with people who are now dead.
电影中的人物时常感受到超越时间和空间的交叉，以及神秘的联结。就像是你我在参观古战场时，通过记忆中神秘的线索，与古时候在这里作战的人之间，产生的那种超越时间的感受；又好像是重访我们幼年时的旧居，与如今已经过世的人之间，产生的那种深深的交流。
Bloggers have noticed the religious symbols in the movie. There are those 12 apostles, and there’s a Noah’s ark. There is a fallen angel named Dr. Mann who turns satanic in an inverse Garden of Eden. The space project is named Lazarus. The heroine saves the world at age 33. There’s an infinitely greater and incorporeal intelligence offering merciful salvation.
博客作者们注意到了电影中的宗教符号。片中有12门徒，有诺亚方舟。还有一个名为曼恩博士(Dr. Mann)的陨落天使，在与伊甸园截然相反的环境里变得犹如魔鬼一般。太空计划名为拉撒路(Lazarus)，女主角拯救世界时年龄是33岁。在电影中，存在着一种无限宏大而又无形的智慧，给人以仁慈的救赎。
But this isn’t an explicitly religious movie. “Interstellar” is important because amid all the culture wars between science and faith and science and the humanities, the movie illustrates the real symbiosis between these realms.
不过这并不是一部具有明显宗教意味的影片。《星际穿越》之所以重要，是因为面对着科学与宗教、科学与人性之间的各种文化战争，这部电影勾画了这些领域之间真正的共生关系。
More, it shows how modern science is influencing culture. People have always bent their worldviews around the latest scientific advances. After Newton, philosophers conceived a clockwork universe. Individuals were seen as cogs in a big machine and could be slotted into vast bureaucratic systems.
此外，它还显示出现代科学是如何影响文化的。人类一直都会因为最新的科学进步，而转变世界观。在牛顿(Newton)之后，哲学家构想出了一种类似发条装置的宇宙。个人被认为是一个巨大机械里的齿轮，可以嵌入宏大的官僚体制里。
But in the era of quantum entanglement and relativity, everything looks emergent and interconnected. Life looks less like a machine and more like endlessly complex patterns of waves and particles. Vast social engineering projects look less promising, because of the complexity, but webs of loving and meaningful relationships can do amazing good.
然而在量子纠缠和相对论的领域，所有的事物看起来都像是新生的，互相关联的。生命不再那么像机器，而更像是无穷无尽样式繁复的波动和粒子。因为过于复杂，庞大的社会工程项目似乎没那么可行，但是爱与深刻的人际关系组成的网络，却能产生令人惊诧的效果。
As the poet Christian Wiman wrote in his masterpiece, “My Bright Abyss,” “If quantum entanglement is true, if related particles react in similar or opposite ways even when separated by tremendous distances, then it is obvious that the whole world is alive and communicating in ways we do not fully understand. And we are part of that life, part of that communication. ...”
就像诗人克里斯蒂安·威曼(Christian Wiman)在他的著作《我明亮的深渊》(My Bright Abyss)中所写，“如果量子纠缠是真实的，如果相关的粒子即使相距甚远，也能以相似或相反的方式互动，那么整个世界显然就是有生命的，在以我们并不能完全理解的方式沟通。我们是这种生命的一部分，是这种沟通的一部分。”
I suspect “Interstellar” will leave many people with a radical openness to strange truth just below and above the realm of the everyday. That makes it something of a cultural event.
我猜想，《星际穿越》也会让许多人对日常生活层面之上和之下的陌生事实，产生一种彻底的洞明感。这就能使它成为某种文化事件。