作为展现儿童成长危机的一部典型影片，《真爱满行囊》从电影首映到今日已经有十个年头了，但里面所涉及到的儿童的自杀、流浪等敏感情节却一直是许多人关注的话题。相较于中国同题材的儿童电影，这部电影把被忽略的大众化的儿童生存困境作为主要的表现对象。尽管他们大多衣食无忧且拥有父母的关爱，但在看似幸福的生活背后却隐藏着一种挤压/逃离，权威/反抗的现代新型亲子关系，这种关系使得“家”这一空间场域所指向的意义变得更加矛盾和含混，它不仅是我们的心灵港湾和情感归宿，更体现了成人与儿童之间的一种权力角逐关系，即成人权力和社会权力对儿童的压制和束缚以及由此带来的儿童的反抗和对自由意识的渴望，显然，这种权力关系正是造成童年精神危机的重要因素。%As a classic film to display of children’s growth crisis,the“Call Me Elisabeth”has already been on show for ten years since its first show,but the children’s suicide,vagrancy and other sensitive plot has been a topic. Compared with the films with the same theme in China,the film took the ignored children’s survival plight as the main object. Although most of them are wealthy and have parents’ love,but behind the seemingly happy life there is modern new parent-child relationship of extrusion/ escaping, authority/defiance,the relationship made the meaning of “home”more contradicted and vague. It is not only the harbor of our hearts and emotional end-result,but also embodies relations to struggle power between the adult and the children,namely adults and social power repression and bounding with the children resulted in children’s resistance and the longing for freedom consciousness. Obviously,this power relationship is an important factor of childhood mental crisis.
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