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The movie has also resonated with audiences.
這部電影也引起了觀眾的強烈共鳴。
The owner of a stately blue Sacramento house used as a filming location now has droves of devotees taking selfies outside her window on a kind of pilgrimage.
薩克拉門托一座雄偉的藍色民宅曾被用作該片的拍攝地點，如今，前去朝圣的粉絲絡繹不絕，大家紛紛前往那家人的窗戶外自拍。
There are more than a few testimonials online from daughters who, after seeing the film, called their mothers to apologize for their nightmarish teenage behavior.
還有不少女生在網上貼感謝信，她們都曾在看完這部電影之后打電話，為她們曾經做出的噩夢般的叛逆行為向她們的母親道歉。
And a lone film blogger drew the ire of fans when he sullied Lady Bird's perfect Rotten Tomatoes score.
而某電影博主在爛番茄上將《伯德小姐》拉下了滿分神壇，此舉激起了粉絲們的憤怒。
(The critic entered his review as "rotten" because he thought the film didn't deserve to be "the all-time best reviewed movie" on the review aggregator.)
（該影評人給了該片差評，因為他認為該片不配充當該網站“史上評價最高影片”。）
In Lady Bird, on movie screens from Sacramento to Brooklyn,
從《伯德小姐》中，從薩克拉門托到布魯克林的電影屏幕上，
women and girls are seeing themselves reflected in all their warts and glory:
女性們看到了自己的瘡痍，也看到了自己的光彩：
Mothers whose love for their daughters has at times filtered messily through envy and resentment.
母親們看到了對女兒的愛時不時夾雜著嫉妒和怨恨的自己。
Women whose double shifts as nurses or police officers render magazines in the supermarket checkout line an extravagance.
輪班的女護士和女警察看到了讓買到超市結賬隊伍里的雜志都變成了奢侈的自己。
Girls who've grown accustomed to being told, through images, that their lives are unworthy of thoughtful consideration.
女孩們兒看到習慣了被，用事例，灌輸她們的生活不配得到體貼入微的關照的自己。
Lady Bird is the kind of movie that can make you a little more generous, and a little kinder, not least of all to yourself.
《伯德小姐》是那種能夠讓你變得慷慨一點，善良一點，尤其是對自己，的電影。
Gerwig has at once become her own success story and a symbol of the future of storytelling—of the not-so-radical notion that we may, perhaps even soon, get to stop qualifying director with female.
葛韋格一舉撰寫出了自己的成功故事，她象征了故事敘述的未來 - 那種講述我們可能，甚至很快，得停止限制女性加入導演行業這一不太激進的理念的敘述。
She knows the power of seeing someone like yourself out there doing the thing you yearn to do.
她知道，看到和自己差不多的人做著自己渴望做的事情能夠給人帶來多大的力量。
But she's hopeful for a time when we won't need to count every woman's accomplishment as evidence.
但她也期盼著我們不再需要用每個女人的成就來證明這一點的那一天。
You just look forward to the day, she says, "when it doesn't mean anything."
“你只要心懷希望就可以了，”她說，“當它不代表任何問題的時候。”
Some kids grow up practicing Oscar speeches in the mirror.
有些孩子在成長的過程中曾在鏡子面前反復模仿奧斯卡演講。
But when she was a kid in Sacramento, Gerwig barely even went to the movies.
但當葛韋格小時候住在薩克拉門托的時候，她幾乎從未去電影院看過電影。
When she did, she didn't think about them as being directed—they just seemed like "whole things handed down from gods."
當她真正去看的時候，她也不覺得電影是人拍出來的 - 電影看著就像“全部是神賜予的。”
Even among mortal creators, scant few were women.
即使是凡人導演中間，也很少有女性的身影。
"There was Jane Campion, Nancy Meyers, Nora Ephron, Amy Heckerling," Gerwig says as she counts the few she can recall on one hand.
“只有簡·坎皮恩，南希·邁耶斯，諾拉·艾芙隆，艾米·海克林，”葛韋格掰著一只手的手指數到。
"Not a lot."
“不多。”
It wasn't until she was at Barnard College that she realized she might want to add her name to that very short list.
直到進了巴納德學院，她才意識到她可能想把自己的名字也加到那個很短的名單上。
But directing just didn't seem like a realistic career option.
然而，當導演似乎并不是一個現實的職業選擇。
So she immersed herself in theater, her childhood passion, working summers as a stage manager at places like the Ontological-Hysteric Theater.
于是，她一頭扎進了童年時自己酷愛的戲劇，去了本體論—歇斯底里劇場等地方當劇務。
As she was finishing school, she began acting in low-budget mumblecore films like Hannah Takes the Stairs and Nights and Weekends (which she co-directed),
由于已經臨近畢業，她便開始出演包括《愛的階梯》和《夜晚與周末》（她也是該片的導演之一）在內的一些小成本“呢喃核”影片，
known for their improvised performances and nonchalant approach to plot.
這類影片以即興表演和及對情節不拘一格的處理方式著稱。
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