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From birth, the film shows that adoptive families were victims of occasional abuse of power, of the adoption agency that hid their biological kinship and their status of tripled, to scientists who used them as guinea pigs for a study of nature versus culture that has never been published, to the media that trapped them in a fairy tale to which they could never comply. Watching these families get engulfed by the public exposure, I remembered the 2003 documentary by Andrew Jarecki Capturing the Friedmans in which a Long Island family already troubled in a case of Child abuse was further crucified by rushes in judgment by the police, courts, the media and their local community.
Wardle captures the indignation of families about what had been hidden from them. Sensitive to the historical context, he brought journalist Lawrence Wright, author of a book on twin studies, as well as former researchers, to show that ethical concerns about privacy and disclosure were less rooted in the professional practice of the sixties. are today. Yet interpreting the past through reenactment can be difficult. The adoption agency is closed now and there is no one to check the dramatized memory of an adoptive father who remembers stumbling on board members who are burning themselves with champagne after a meeting in which they thought to pacify angry parents with half-truths. In another twist of a serpentine tale that Wardle follows as a thriller, we learn that the triplets had one thing in common: all had troubled pbadages from childhood to adolescence, but its manifestations varied from boy to boy. All three grew up in Jewish families, but they extended the spectrum of clbad and their parenting styles varied, with a disciplinary father taking the brunt of responsibility for his son's emotional instability. When a former researcher reads from the notes he took during the tests, we learn as much about the carefree parents who reigned in psychologists after the Second World War as on the early difficulties of boys
. The differences between the triplets had become glaring, and even the similarities do not match the fable of a happy similarity in which the media had enveloped them. Here, the nature-culture debate heats up and the pendulum of the film oscillates between heredity and environment, while we attend the disparate destinies that affected the three men. "It's all about culture!" exclaims a relative. Not everything this nuanced film is clear. And in the perplexed and anxious cry of a triplet about a lost brother, "why not me, I do not know," a clue emerges that there is nature, and he There is awakening and unknowable mysteries of the human character: Who succumbs to the trauma and who survives, and what survival means even when you have lost your flesh and blood many times.
Towards the end of Three Identical Strangers Wardle unites two brothers to inspect new information about their past on a laptop. What they discover is quite disturbing, but what really breaks the viewer's heart is the nervous discomfort with which they greet each other, two identical strangers who were once close but who do not seem to be alone. have been encountered for a while and who seem to have lost the one thing we suppose that twins should be able to rely on. Trust.
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