从《维罗妮卡的双重生活》、《塞尔玛与路易斯》到中国的《姊妹花》、《苏州河》等，这些影片都是以两个重要的女性人物角色为故事焦点展开叙事。这些影片围绕着女性的身份焦虑、自我救赎展开，将女性角色放在的首要位置上。近些年来，许多电影导演开始对“双生花”这种电影叙事模式进行模仿和延伸，其探讨的主题也在不断发散拓展，为这一叙事模式增添了更多的新鲜元素，这一创新也体现在了近些年的国产青春题材电影中。 2013年，由赵薇导演的青春电影《致我们终将逝去的青春》大获成功，口碑与票房均居高不下，更是获得了多个奖项。可以说其缔造了国产青春电影的一个神话,受众和市场都开始将目光转向青春题材。自此以后，青春片在中国内地市场蓬勃发展，数量急速上升。但随之而来的如同复制粘贴的桥段接踵而至，“分手、留学、堕胎”仿佛成了青春电影必备的“三板斧”，“疼痛青春”似乎已经成了国产青春电影的标签。 在一众青春片中，以《七月与安生》、《少女哪吒》等为代表的几部“双姝争艳”式的青春电影，以不同于以往青春电影的人物设定，杀出重围，带给观众耳目一新的感觉。在这些电影中，爱情不再是唯一主题，左右着女性的人生；两位女主人公之间的人物关系，也不仅是单纯的对立或同盟，而是形成一种相对复杂的叠加。与此同时，男性被“去中心化”，不再作为焦点，一味地被塑造成高大威猛、阳光帅气的形象；女性也不再只是美丽柔弱，痴心不改的形象，而是各自具有特色。也许这些特色与传统意义上大众对女性的审美标准有所不同，但不可否认的是，这样的设置更能带来一种全新的体验。爱情元素不再占据大篇幅笔墨，而是承担起推动剧情发展、推进人物关系的功能性作用。 这种模式的青春电影将视点聚焦于女性角色，积极探索女性成长以及女性的内心世界，可以说，这类影片的社会意义，远在青春电影本身对时代的怀念与追忆之上。“姐妹情谊”取代爱情，附庸位置变成主体，年轻女性开始关注与思考自身发展，对自己的人生有了选择的意识。这样的作品不仅是对“双生花”叙事模式的发展，更是对青春电影内容上的突破。 本文将以《七月与安生》（2016）、《黑处有什么》（2016）、《左耳》（2015）、《少女哪吒》（2014）、《甜蜜十八岁》（2013）等五部影片为研究对象，从人物塑造、情节设置、电影主题、社会性别等角度，对两位主要女性角色之间的人物关系进行研究、梳理与归纳，探究在国产青春题材影片中，“双生花”叙事模式是如何创新的，这一模式的存在意义及其发展空间，以及这一叙事模式和影片主题的关联。

From "The Double Life of Veronica", "Selma and Louis" to China's "Sisters", "Suzhou River", these films are based on two important female characters to focus on the narrative. In 2007, Professor Chen Xiaoyun published the paper "Double girls: A Narrative Model of a Movie" for the first time as a research object. These films revolve around women's identity anxiety and self-salvation, placing female characters at the top of their positions. In recent years, many film directors have begun to imitate and extend the film narrative mode of "double flower", and the theme of their discussion has been continuously diverging and expanding, adding more fresh elements to this narrative mode. Reflected in the domestic youth movie. In 2013, the youth film directed by Zhao Wei, "Towards the Youth We Will Die", was a great success, with high reputation and box office, and won several awards. It can be said that it has created a myth of domestic youth movies, and both the audience and the market have begun to turn their attention to the theme of youth. Since then, the youth film has begun to flourish in the Chinese mainland market, and the number has risen rapidly. However, the bridges that follow the copy and paste version came one after another. "Break-off, study abroad, abortion" seems to be the "three-axe" necessary for youth movies. "Acupressure youth" seems to have become the label of domestic youth movies.In a group of youth films, the "Shenzhen and Ansheng" and "Girls" are some of the "double-eyed and glamorous" youth movies, which give people a refreshing feeling. In these movies, love is no longer the only theme, it is the life of women; the relationship between the two heroines is not only a simple opposition or alliance, but a relatively complex superposition. In these films, men are “decentralized” and are no longer the focus. They are blindly shaped into a tall, mighty, sunny and handsome image; the heroine is no longer just a beautiful, weak, indifferent image, but With its unique personality, perhaps these personality characteristics are different from the traditional female aesthetic standards in the traditional sense, but it is undeniable that such a setting can bring a refreshing experience. The element of love no longer occupies a large part of the pen and ink, but assumes the functional role of promoting the development of the plot and promoting the relationship of the characters. At the same time, the audience is also aware that there is more or less sweet or regretful love in youth, and the story of youth does not only happen on campus. This model of youth film focuses on female characters and actively explores women's growth and the inner world of women's growth. It can be said that the social significance of such films is based on the nostalgia and remembrance of the youth film itself. "Sisterhood" replaces love, and the position of the vassal becomes the subject. Young women begin to pay attention to and think about their own development, and have a sense of choice for their own lives. Such a work is not only a development of the "double flower" narrative mode, but also a breakthrough in youth movies. This article will be "July and Ansheng" (2016), "What is Black" (2016), "Left Ear" (2015), "Girls" (2014), "Sweet 18" (2013), etc. The five films are the research objects. From the perspectives of character shaping, plot setting, film theme, gender, etc., the relationship between the two main female characters is studied, combed and summarized, and explored in the domestic youth film, “Double How does the "Flower" narrative model innovate, the existence of this model and its development space, and the connection between this narrative model and the theme of the film.