《紐約時(shí)報(bào)》2017年度最佳電影

The New York Times chief film critics, Manohla Dargis and A.O. Scott, share theirfavorite pictures of the year.

《紐約時(shí)報(bào)》首席影評(píng)人瑪諾拉·達(dá)爾吉斯(Manohla Dargis)和A·O·斯科特(A.O. Scott)分享了他們今年最喜歡的影片。

Manohla Dargis

瑪諾拉·達(dá)爾吉斯

In March, the producer-director Brett Ratner said that the website Rotten Tomatoes “was the worst thing we have in today’s movie culture,” directly blaming it for “the destruction of our business.” It isn’t common practice for industry influencers to go after critics, but sometimes desperation wins out. That perhaps also explains why in August, Harvey Weinstein wrote a column in Deadline flacking his much-delayed, soon-to-be flop “Tulip Fever,” admitting that “writing this article is probably akin to putting a target on my back.”

在3月，制片人兼導(dǎo)演布萊特·拉特納(Brett Ratner)說，爛番茄(Rotten Tomatoes)網(wǎng)站“是當(dāng)今電影文化中最惡劣的東西”，直指該網(wǎng)站“毀了我們這個(gè)行當(dāng)”。對(duì)行業(yè)有影響力的人攻擊影評(píng)的情況不常見，但有時(shí)候，最后勝出的是絕望。這也許解釋了為什么今年8月，哈維·韋恩斯坦(Harvey Weinstein)在Deadline上寫了一篇專欄文章，推銷他那部延期已久、不久后將一敗涂地的電影《狂熱郁金香》(Tulip Fever)，承認(rèn)“寫這篇文章可能無異于引火燒身”。

In early October, Mr. Weinstein was accused by several women of sexual harassment and assault; in November, Mr. Ratner was facing serious allegations about sexual harassment and misconduct and it was evident that these two power brokers had been living in a very different world — almost a parallel universe, really — with very different concerns, rules and ethics than many of us. The charges against them and the allegations leveled against other influential men in the entertainment industry and outside it are the cultural story of 2017. They will remain the story for some time.

10月初，韋恩斯坦被多名女子指控性騷擾和侵犯;11月，拉特納受到多項(xiàng)嚴(yán)重的性騷擾和行為不端指控，并且，這兩名權(quán)力掮客顯然一直生活在一個(gè)截然不同的世界，那里關(guān)心的很多問題、規(guī)則和道德，和我們的世界迥然不同。真的，幾乎是一個(gè)平行宇宙。對(duì)他們的指控，以及對(duì)娛樂行業(yè)內(nèi)外其他有影響里的人的控訴，是2017年的文化故事。在未來一段時(shí)間里，它們?nèi)詫⑹枪适隆?/p>

Perhaps that’s why I’m especially grateful for this year’s good and great movies. Filmmakers make movies despite often-crushing odds and some make movies while also struggling against entrenched prejudices. The revelations of the past few months — and the stories of victims who faded away — is further appalling proof of the extent of these biases. That there are so many outstanding movies each year despite those odds and those biases can feel like a miracle. This year all the plenty feels like a balm. Here are my top 10 favorite movies, all of which received a theatrical release or soon will.

或許這就是為什么我會(huì)尤其感激今年的電影佳作。盡管出現(xiàn)了各種有沖擊力的突發(fā)事件，制片人們?nèi)栽谂碾娪埃渲幸恍┤诉€在與根深蒂固的偏見斗爭(zhēng)。過去幾個(gè)月以來的曝光事件——以及那些慢慢被淡忘的受害者的故事——更是有力證明了這些偏見之深。在各種事件和偏見之中，還能有那么多出色的電影，感覺像是一個(gè)奇跡。今年的所有種種都像是一種慰藉。以下是我最喜歡的十大電影，均為院線影片或即將上映。

1. ‘DUNKIRK’ (directed by Christopher Nolan) Most war movies are about winning. “Dunkirk” is about surviving. With peerless craft and technique, Mr. Nolan puts you in the air, on the sea and on the ground during a World War II rescue mission and, once the rescue is over, makes it harrowingly clear that the fight goes on.

1.《敦刻爾克》(Dunkirk，克里斯托弗·諾蘭[Christopher Nolan]執(zhí)導(dǎo))。大多數(shù)的戰(zhàn)爭(zhēng)片都在討論輸贏，《敦刻爾克》討論的是生存。用絕佳的手法和技巧，在二戰(zhàn)的一場(chǎng)營(yíng)救任務(wù)中，諾蘭帶你上天、入地、下海。而在營(yíng)救任務(wù)結(jié)束后，影片卻殘忍地明確指出，戰(zhàn)爭(zhēng)仍在繼續(xù)。

2. ‘EX LIBRIS: THE NEW YORK PUBLIC LIBRARY’ (Frederick Wiseman) In his wonderful, expansive and wholly absorbing documentary, Mr. Wiseman goes deep into the New York Public Library — down grand and humble halls, and past open and seeking faces — for a portrait of a cultural and social institution that is democracy incarnate.

2.《紐約公共圖書館》(Ex Libris: The New York Public Library，弗雷德里克·懷斯曼[Frederick Wiseman]執(zhí)導(dǎo))。在這部洋洋灑灑、令人著迷而絕妙的紀(jì)錄片中，懷斯曼深入探索了紐約公共圖書館——走在宏偉而樸素的大廳里，看到一張張開明而渴求的面孔——為這個(gè)作為民主化身的文化和社會(huì)機(jī)構(gòu)描繪了一幅肖像。

3. ‘FACES PLACES’ (Agnès Varda and JR) In this glorious, vividly personal work, Ms. Varda both wanders through France and into the past alongside the visual artist JR, meeting new friends and seeking out old. Ms. Varda is often described as one of the greatest female directors alive, which is true. She is also one of greatest.

3.《臉龐，村莊》(Faces Places，阿涅絲·瓦爾達(dá)[Agnès Varda]和JR執(zhí)導(dǎo))。在這部帶有鮮明個(gè)人色彩的絢麗作品中，瓦爾達(dá)與視覺藝術(shù)家JR一起游歷了法國(guó)，走進(jìn)了過去。他們?nèi)フJ(rèn)識(shí)新的朋友，也在尋找著回憶。人們常說瓦爾達(dá)是當(dāng)今世上最偉大的女導(dǎo)演之一，這話沒錯(cuò)。但她也是最偉大的導(dǎo)演之一。

4. ‘THE FLORIDA PROJECT’ (Sean Baker) Mr. Baker makes heartbreakers about people usually ignored by movies: a porn actress and the forgotten elderly woman she befriends in “Starlet”; two transgender female prostitutes in “Tangerine.” In “The Florida Project,” he tells a deeply American story of children and adults struggling at the margins of Disney World, creating a 21st-century “Grapes of Wrath” with psychedelic color and gobs of spit.

4.《佛羅里達(dá)計(jì)劃》(The Florida Project，肖恩·貝克[Sean Baker]執(zhí)導(dǎo))。肖恩·貝克導(dǎo)演了一部令人心碎的作品，有關(guān)那些常常被電影忽視的人：一位色情片女演員，以及她在《小明星》(Starlet)中結(jié)識(shí)的一個(gè)被人遺忘的老年女性朋友，和兩個(gè)在《橘色》(Tangerine)認(rèn)識(shí)的變性女郎。在《佛羅里達(dá)計(jì)劃》中，他講述了一個(gè)極其美國(guó)的故事：迪士尼樂園邊上的孩子和成人，用迷幻的色彩和一團(tuán)團(tuán)唾液掙扎著建起了一部21世紀(jì)的《憤怒的葡萄》。

5. ‘GET OUT’ (Jordan Peele) A meme generator, a social critique and a metaphor for our times — “Get Out” is all of these. It’s also an exceptional feature directorial debut. Mr. Peele does much that’s right and it’s worth remembering that what makes his movie memorable isn’t only what he says, but also how he makes meaning cinematically with finely calibrated timing, a sense of alienated space and an indelibly haunted, haunting image of the void.

5.《逃出絕命鎮(zhèn)》(Get Out，喬丹·皮爾[Jordan Peele]執(zhí)導(dǎo))。這部電影出產(chǎn)了大量米姆，也是對(duì)社會(huì)的批判、對(duì)我們這個(gè)時(shí)代的比喻——《逃出絕命鎮(zhèn)》講的全是這些。這也是一個(gè)極其出彩的導(dǎo)演首秀片。喬丹·皮爾做得基本都不錯(cuò)，我們也應(yīng)該記住，這部電影的難忘之處不光在于他說了什么，而是在于極佳的時(shí)機(jī)把握，疏離的空間感以及讓人難以忘卻、反復(fù)出現(xiàn)的空洞畫面。

6. ‘LADY BIRD’ (Greta Gerwig) The anguished teenager has been a cinematic cliché since James Dean bellowed about being torn apart in “Rebel Without a Cause.” Ms. Gerwig’s tender, thrilling movie about an adolescent girl has plenty of drama: Our heroine throws herself from a car. Thereafter, she does more than simply survive; she becomes a person in a movie that insists female artistic self-creation isn’t a matter of sacrifice but of being.

6.《伯德小姐》(Lady Bird，格蕾塔·葛韋格[Greta Gerwig]執(zhí)導(dǎo))。自從詹姆斯·迪恩在《無因的反叛》中歇斯底里地喊出自己被四分五裂之后，痛苦的年輕人形象便成為了電影的老一套。格蕾塔·葛韋格拍的這部電影細(xì)膩而刺激，這位青春期女孩也非常有戲劇性：我們的女主角跳了車。因此，她不只是活著，在這個(gè)主張女藝術(shù)家的自我創(chuàng)造并不是犧牲而是一種存在的電影中，她成了一個(gè)活生生的人。

7. ‘OKJA’ (Bong Joon-ho) Filled with lapidary visual touches and pictorial splendor, Mr. Bong’s lovely, often funny and achingly soulful movie about a girl and her pig didn’t receive the theatrical release it deserved because it was bought by Netflix, which largely seems committed to shoveling product into its pipeline. That may be the future, but it’s infuriating that — like the villain in this movie — it can’t see past the bottom line.

7.《玉子》(OKJA，奉俊昊[Bong Joon-ho]執(zhí)導(dǎo))。奉俊昊用精確的視覺把握和飽和的圖畫，在這部有時(shí)搞笑、有時(shí)用情至深的可愛電影中講述了一個(gè)女孩和她的小豬的故事。由于被Netflix收購(gòu)，這部電影未能得到它贏得的院線公映機(jī)會(huì)，這家公司似乎一心想要把產(chǎn)品塞進(jìn)自己的渠道。這或許就是未來，但令人生氣的是——正如這部電影中的反面角色——他們不能看到賬面以外的東西。

8. ‘PHANTOM THREAD’ (Paul Thomas Anderson) Two lives — and two perversities — become one in this ravishingly beautiful, often unexpectedly funny film, which traces the relationship between an eminent couture designer (a magnificent Daniel Day-Lewis) and his younger, surprising muse (Vicky Krieps). It’s a story about love and about work, and finally as much about its own creation as the romance onscreen.

8.《魅影縫匠》(Phantom Thread，保羅·托馬斯·安德森[Paul Thomas Anderson]執(zhí)導(dǎo))。兩個(gè)生命——兩種倔強(qiáng)——在絕美的電影中交織成了一體，還時(shí)常有出人意料的笑料。影片講述了一位有名的時(shí)裝設(shè)計(jì)師(由出色的丹尼爾·戴-劉易斯飾演[Daniel Day-Lewis])和一位他意想之外的年輕繆斯(薇姬·克里普斯[Vicky Krieps]飾)之間的關(guān)系。這是一個(gè)講述愛和工作的故事，也是一段大熒幕戀情的形成。

9. ‘A QUIET PASSION’ (Terence Davies) In this exquisitely directed biography of Emily Dickinson (a sensational Cynthia Nixon), Mr. Davies turns images into feelings. With delicacy and transporting camera movements, he brings you into Emily’s everyday life, touching close to the people that she deeply loved and into the rooms that they shared. He shows you the beauty, grace, light and shadow that flowed into her and right through her pen.

9.《寧?kù)o的熱情》(A Quiet Passion，特倫斯·戴維斯[Terence Davies]執(zhí)導(dǎo))。在這部講述艾米麗·迪金森(Emily Dickinson)的細(xì)膩傳記片中，特倫斯·戴維斯把畫面變作感情。用精致和鏡頭的切換移動(dòng)，將你帶入艾米麗的日常生活，走近了她深愛的人和他們?cè)黄鹱∵^的房間。他向你展示出了迪金森感受到的、再?gòu)墓P尖流淌而出的美好、雅致與明暗。

10. ‘WONDER WOMAN’ (Patty Jenkins) I love all the movies on my list, but more than any other this year, “Wonder Woman” reminded me that we bring our entire histories when we watch a movie — our childhood reveries, our adolescence yearnings and adult reservations. I’ve always loved Wonder Woman in all her imperfection, including in the old TV show, and I loved her here because all my adult reservations were no match for this movie.

10.《神奇女俠》(Wonder Woman，帕蒂·詹金斯[Patty Jenkins]導(dǎo)演)我喜歡我清單上的所有電影，但在今年的所有電影中，《神奇女俠》讓我最深刻地感觸到這一點(diǎn)：我們觀看一部電影時(shí)，會(huì)回想起全部的往事——童年的遐想，青春期的渴望和成人的疑惑。盡管神奇女俠并不完美，但我一直很喜歡她，包括她在舊電視劇中的形象。我喜歡這部電影中的她，是因?yàn)槲页扇说乃幸苫蠖急炔簧线@部電影。

OTHER FAVORITES “After the Storm”; “The Big Sick”; “Bombshell: The Hedy Lamarr Story”; “Call Me by Your Name”; “The Challenge”; “Dawson City: Frozen Time”; “The Death of Louis XIV”; “Escapes”; “Girls Trip”; “Good Time”; “The Happiest Day in the Life of Olli Maki”; “I Am Not Your Negro”; “Jim & Andy: The Great Beyond — Featuring a Very Special, Contractually Obligated Mention of Tony Clifton”; “Kedi”; “The Lost City of Z”; “Mother!”; “Mudbound”; “My Journey Through French Cinema”; “Norman: The Moderate Rise and Tragic Fall of a New York Fixer”; “The Ornithologist”; “Patti Cake$”; “Personal Shopper”; “The Post”; “Professor Marston and the Wonder Women”; “Quest”; “Song to Song”; “Tonsler Park”; “Twin Peaks: The Return”; “The Woman Who Left”; “Wonderstruck.”

我喜歡的其他電影是：《比海更深》(After the Storm);《大病》(The Big Sick);《尤物：海蒂·拉瑪傳》(Bombshell: The Hedy Lamarr Story);《請(qǐng)以你的名字呼喚我》(Call Me by Your Name);《誰(shuí)與爭(zhēng)鋒》(The Challenge);《道森市：冰封時(shí)光》(Dawson City: Frozen Time);《路易十四的死亡紀(jì)事》(The Death of Louis XIV);《逃離》(Escapes);《嗨翻姐妹行》(Girls Trip);《好時(shí)光》(Good Time);《奧利·馬基一生中最快樂的一天》(The Happiest Day in the Life of Olli Maki);《我不是你的黑鬼》(I Am Not Your Negro);《金和安迪：偉大超越——金·凱瑞和安迪·考夫曼以及根據(jù)合同規(guī)定必須特別提及的托尼·克里夫頓》(Jim & Andy: The Great Beyond — Featuring a Very Special, Contractually Obligated Mention of Tony Clifton”);《伊斯坦布爾的貓》(Kedi);《迷失Z城》(The Lost City of Z);《母親!》(Mother!);《泥土之界》(Mudbound);《我的法國(guó)電影之旅》(My Journey Through French Cinema);《諾曼》(Norman: The Moderate Rise and Tragic Fall of a New York Fixer);《鳥類學(xué)家》(The Ornithologist);《帕蒂蛋糕$》(Patti Cake$);《私人采購(gòu)員》(Personal Shopper);《華盛頓郵報(bào)》(The Post);《馬斯頓教授與神奇女俠》(Professor Marston and the Wonder Women);《探索》(Quest);《歌聲不絕》(Song to Song);《湯斯勒公園》(Tonsler Park);《雙峰：回歸》(Twin Peaks: The Return);《離開的女人》(The Woman Who Left);《寂靜中的驚奇》(Wonderstruck)。

A.O. Scott A·O·斯科特

Therewas a lot to feel bad about in 2017: plenty of reasons to take offense, get angry, go numb or feel sick to your stomach. If that sentence bummed you out, I’m sorry. (It was an epic year for dubious apologies, too.) But I’m not sorry about this list of the movies — a top 10 and a second 11 — that made me feel other, better ways. Not always cheerful, but enlightened, moved, surprised and gratified. In bad times, we tend to either ask too much or expect too little of art, pretending it might heal or save us, and dismissing it when it doesn’t. Its actual function is much simpler: it keeps us human. That’s what these movies did for me this year.

2017年有很多事情讓人感覺很糟：你有足夠的理由感覺受冒犯、生氣、麻木或者覺得惡心。如果這句話讓你心情不好，那么我很遺憾(這一年也出現(xiàn)了很多值得懷疑的道歉)。不過，我并不為這份電影清單而遺憾——它列出了前10名以及之后的11名——這些電影讓我產(chǎn)生了其他更美好的感覺。不總是愉快的感覺，但它們讓我覺得受啟發(fā)、被打動(dòng)，感到驚訝和滿足。在艱難的時(shí)刻，我們對(duì)藝術(shù)往往要么要求太多，要么期待太少，以為它能治愈或拯救我們，而當(dāng)它沒有實(shí)現(xiàn)這些目標(biāo)時(shí)，我們又會(huì)貶低它。但藝術(shù)的實(shí)際功能要簡(jiǎn)單得多：它讓我們保持人性。這就是這些電影今年帶給我的。

1. ‘THE FLORIDA PROJECT’

1.《佛羅里達(dá)計(jì)劃》(The Florida Project)

The promise of an independent, socially conscious, aesthetically adventurous homegrown cinema is spectacularly redeemed in Sean Baker’s latest feature, which managed to be both the most joyful and the most heartbreaking movie of the year. Steeped in the gaudy materialism of Central Florida, animated by Brooklynn Prince’s gleeful spontaneity and anchored by Willem Dafoe’s deep craft, the movie already has a feeling of permanence. Ms. Prince’s Moonee has earned a place in the canon of American mischief alongside the likes of Eloise and Tom Sawyer.

這部肖恩·貝克的新作是一部獨(dú)立、關(guān)注社會(huì)、具有美感的本土冒險(xiǎn)電影，它是本年度最歡快、也最令人心碎的影片。它沉浸在佛羅里達(dá)中部華麗的物質(zhì)主義之中，布魯克琳·普林斯(Brooklynn Prince)歡樂的天性為它注入了活力，威廉·達(dá)福(Willem Dafoe)的高超演技為它奠定了基石，令影片給人一種永恒的感覺。普林斯飾演的穆妮(Moonee)則在美國(guó)的淘氣鬼殿堂里贏得了一席之地，堪與埃洛伊絲(Eloise)和湯姆·索亞(Tom Sawyer)平起平坐。

2. ‘LADY BIRD’

2.《伯德小姐》(Lady Bird)

In a high school production of Shakespeare, Christine McPherson is cast as “the tempest.” “It’s the titular role!” says her once-and-future best friend — one of many odd, funny and perfectly apt lines in Greta Gerwig’s sort-of-autobiographical coming-of-age story. In its titular role (Christine prefers to be called Lady Bird), Saoirse Ronan is an utterly convincing American 17-year-old, and everyone else in her hectic world is just as sharply and sympathetically drawn. The film’s gentle, affirmative view of friendship, family life and adolescent sexuality is the opposite of sentimental.

在高中排演莎士比亞的作品時(shí)，克里斯汀·麥克弗森(Christine McPherson)被選中飾演“暴風(fēng)雨”。“這個(gè)角色的名字和劇名一樣!”她和她當(dāng)時(shí)也是未來最好的朋友說。影片是格蕾塔·葛韋格的自傳體成長(zhǎng)故事，而這句話是片中諸多奇怪、有趣，而又極為機(jī)智的臺(tái)詞之一。西爾莎·羅南(Saoirse Ronan)飾演“伯德小姐”(克里斯汀喜歡別人這樣叫她)，她是一個(gè)特別真實(shí)可信的美國(guó)17歲女孩，影片塑造了她的狂亂世界，其中所有人都得到了尖銳、同情的刻畫。片中對(duì)友誼、家庭生活和青少年性愛持溫和、贊許的態(tài)度，但是絕不多愁善感。

3. ‘GET OUT’

3.《逃出絕命鎮(zhèn)》(Get Out)

Jordan Peele wrote and directed the inescapable movie of 2017, a work of biting anti-consensus filmmaking that broke box office records. Part of the film’s genius is the way it splinters the mythology of American racial healing and then reassembles the shards into something lacerating and beautiful. Possibly conceived as a mordant punch line to the Obama era, it may turn out to be the inaugural blast of insurgent cinema in the age of Trump.

喬丹·皮爾擔(dān)任編劇并執(zhí)導(dǎo)的這部作品是2017年絕對(duì)不容錯(cuò)過的電影，它打破了電影制作的共識(shí)，也打破了票房紀(jì)錄。該片的一個(gè)天才之處在于，它粉碎了美國(guó)種族愈合的神話，然后將它的碎片重新組合成一種痛苦而又美麗的東西。它的目的可能是對(duì)奧巴馬時(shí)代進(jìn)行辛辣的諷刺，但最終可能會(huì)被證明是特朗普時(shí)代反叛電影的首次爆發(fā)。

4. ‘I AM NOT YOUR NEGRO’

4.《我不是你的黑鬼》(I Am Not Your Negro)

Raoul Peck’s documentary uses James Baldwin’s words to paint a portrait not only of the writer in his time, but also of the ideas that stretch beyond his work into our own troubled moment. Baldwin wrote about American racism — about the lethal and insidious power of whiteness to distort the nation’s ideals and threaten its humanity — with unequaled vigor, humor and insight. The movie is painful because the truth is painful.

拉烏爾·佩克(Raoul Peck)的這部紀(jì)錄片使用詹姆斯·鮑德溫(James Baldwin)的語(yǔ)言，不僅描繪了那個(gè)時(shí)代的這位作家，也展現(xiàn)了他的思想，那些思想超越了他的作品，延伸到我們現(xiàn)在這個(gè)充滿困境的時(shí)代。鮑德溫以無與倫比的活力、幽默和洞察力講述美國(guó)的種族主義，他認(rèn)為，白人危險(xiǎn)而陰暗的力量扭曲了這個(gè)國(guó)家的理想，威脅到了人性。這部電影令人痛苦，那是因?yàn)檎嫦嗑褪橇钊送纯嗟摹?/p>

5. ‘FACES PLACES’

5.《臉龐，村莊》(Faces Places)

But the truth can also be delightful. Which isn’t to say that strong, bitter emotions don’t have a place in the latest auto-documentary by Agnès Varda. In her late 80s, accompanied by a thirtyish artist named JR (who is also credited as director), Ms. Varda roams the French countryside, searching out the remnants of a once-vibrant working-class tradition. Contemplating some of the sorrows in her own past and the precariousness of the European present, she keeps gloom at bay with her resilient faith in the power of art to conserve and expand human dignity. Every second of this movie proves her right.

但真相也是可以令人愉快的。然而這并不意味著阿涅絲·瓦爾達(dá)的這部最新自傳體紀(jì)錄片中不存在強(qiáng)烈的痛苦。接近90高齡的瓦爾達(dá)在一個(gè)30多歲、名叫JR的藝術(shù)家(他也被列為本片導(dǎo)演)的陪伴下，在法國(guó)的鄉(xiāng)村漫游，尋找曾經(jīng)充滿活力的工人階級(jí)傳統(tǒng)的遺跡。她反思生命中的傷心往事，以及歐洲現(xiàn)在的動(dòng)蕩局面，然而她始終堅(jiān)信藝術(shù)的力量可以保護(hù)并且擴(kuò)展人類的尊嚴(yán)，因此沒有沉浸在失望情緒之中。這部電影的每一秒鐘都證明她是對(duì)的。

6. ‘PHANTOM THREAD’

6.《魅影縫匠》(Phantom Thread)

There are movies that satisfy the hunger for relevance, the need to see the urgent issues of the day reflected on screen. Paul Thomas Anderson’s eighth feature — which may also be Daniel Day-Lewis’s last movie — is emphatically and sublimely not one of them. It awakens other appetites, longings that are too often neglected: for beauty, for strangeness, for the delirious, heedless pursuit of perfection. I’ve only seen this film once (it opens at Christmastime), and I’m sure it has its flaws. I will happily watch it another dozen times until I find them all.

人們需要看到當(dāng)今的重大問題被反映到銀幕上，有些電影就是為了滿足對(duì)電影反映現(xiàn)實(shí)的這種渴望。而保羅·托馬斯·安德森的第八部故事片——它也可能是丹尼爾·戴-劉易斯的最后一部電影——絕對(duì)不是這樣。它喚醒了人們對(duì)電影的其他欲望與渴望：美、新奇，以及對(duì)完美瘋狂肆意的追求，而這些東西往往遭到忽視。這部電影我才看了一遍(它將在圣誕節(jié)期間上映)，我確信它有缺點(diǎn)。我會(huì)再愉快地看上十幾遍，直到找出所有的缺點(diǎn)。

7. ‘A FANTASTIC WOMAN’

7.《普通女人》(A Fantastic Woman)

Sebastián Lelio’s portrait of Marina, a transgender woman mourning the death of her lover and facing the hostility of his family, is at once bluntly realistic and ripely melodramatic, polemical and poetic, pointed and, well, fantastical. Daniela Vega, who plays Marina, doesn’t show up on screen right away, but once she does (singing a torch song in a nightclub in Santiago, Chile), the camera never leaves her for long. What it finds in the planes of her face is some of the glamour of old-time movie stars — hints of Greta Garbo, Joan Crawford, Anna Magnani and Lauren Bacall — and even more of the emotional authenticity that made them stars in the first place.

在塞巴斯蒂安·萊利奧(Sebastián Lelio)執(zhí)導(dǎo)的這部影片中，跨性別女人瑪麗娜(Marina)在哀悼去世情人的同時(shí)，還要面對(duì)他的家庭的敵意。該片有時(shí)十分現(xiàn)實(shí)，有時(shí)又夸張、雄辯，富于詩(shī)意，既直截了當(dāng)，又天馬行空。飾演瑪麗娜的丹妮拉·維加(Daniela Vega)一開始并沒有出現(xiàn)在銀幕上，但當(dāng)她亮相之后(在智利圣地亞哥的一家夜總會(huì)里唱了一首火熱的歌)，攝像機(jī)就再也沒有長(zhǎng)時(shí)間離開過她。在她臉上，你可以看到一些昔日電影明星的魅力——她身上有葛麗泰·嘉寶(Greta Garbo)、瓊·克勞馥(Joan Crawford)、安娜·瑪格納尼(Anna Magnani)和勞倫·白考爾(Lauren Bacall)的影子——你甚至可以看到令她們能成為明星的那種情感上的真誠(chéng)。

8. ‘GRADUATION’

8.《畢業(yè)會(huì)考》(Graduation)

The kid-goes-to-college movie has emerged as a minor American genre. This year’s examples include “Lady Bird,” “The Meyerowitz Stories (New and Selected)” and “Brad’s Status,” all of which offer gently comical perspectives on a familiar rite of passage. Cristian Mungiu, the Romanian director of “4 Months, 3 Weeks and 2 Days” and “Beyond the Hills,” offers a grimmer view. A provincial doctor wants his daughter to attend university in England, and is willing to compromise his ideals to ensure that she can. A family drama and an ethical thriller, Mr. Mungiu’s film is an indictment of the everyday corruption that festers not only in Romania, but everywhere selfishness has become the supreme social value.

關(guān)于“孩子上大學(xué)”的電影已經(jīng)成為美國(guó)電影中的一個(gè)小類型。今年的例子包括《伯德小姐》、《邁耶羅維茨的故事》(The Meyerowitz Stories [New and Selected])和《你好布拉德》(Brad’s Status)，這些電影都是從輕喜劇的角度講述這個(gè)大家熟悉的人生過渡階段。曾執(zhí)導(dǎo)《四月三周兩天》(4 Months, 3 Weeks and 2 Days)和《山之外》(Beyond the Hills)的羅馬尼亞導(dǎo)演克里斯蒂安·蒙吉(Cristian Mungiu)提供了一個(gè)更加令人沮喪的視角。一名外省醫(yī)生希望女兒去英國(guó)上大學(xué)，為了確保女兒能去，他愿意犧牲自己的理想。蒙吉的這部電影既是一部家庭片，也是一部道德驚悚片，它是對(duì)日常腐敗的控訴，這種腐敗不僅存在于羅馬尼亞，而且滋生于任何一個(gè)以自私自利為社會(huì)最高價(jià)值的地方。

9. ‘A QUIET PASSION’

9.《寧?kù)o的熱情》(A Quiet Passion)

But not so quiet, really. As Emily Dickinson, Cynthia Nixon is forthright, sometimes abrasive, often funny and never less than thrilling company. Terence Davies’s blithely unconventional biopic glides through Dickinson’s life with poetic compression and musical grace, illuminating both her temperament and the austere, intellectually intense 19th-century New England environment that nurtured and constrained her gifts.

其實(shí)它并不寧?kù)o。與埃米莉·迪金森一樣，辛西婭·尼克松(Cynthia Nixon)是一個(gè)直率、有時(shí)粗暴、往往很有趣、絕對(duì)令人興奮的伙伴。特倫斯·戴維斯的這部非傳統(tǒng)傳記片輕松愉快，以詩(shī)意的凝練和音樂般的優(yōu)雅回顧了迪金森的一生，展示了她的性格特質(zhì)以及19世紀(jì)新英格蘭嚴(yán)肅、知性的環(huán)境，那個(gè)環(huán)境既孕育也限制了她的天賦。

10. ‘WAR FOR THE PLANET OF THE APES’

10.《猩球崛起3：終極之戰(zhàn)》(War for the Planet of the Apes)

Never has human extinction seemed so richly merited, and rarely has digital ingenuity been put to such sublime use. The third installment in the revived series is an epic of national founding, with echoes of the Aeneid and the Book of Exodus. Somber and exciting, the film, directed by Matt Reeves, shows how large-scale action filmmaking can explore political and moral matters without bogging down in pretentiousness. Andy Serkis remains the key to the enterprise. His performance as Caesar, spanning three movies, is one of the great feats of acting in modern movies, a breathtaking fusion of technological magic and solid thespian craft.

人類的滅絕從來沒有顯得如此罪有應(yīng)得，數(shù)字技巧也很少用于如此崇高的目的。這個(gè)翻拍系列的第三部是關(guān)于國(guó)家建立的史詩(shī)，讓人聯(lián)想起《埃涅阿斯紀(jì)》(Aeneid)和《出埃及記》(Book of Exodus)。影片由馬特·里夫斯(Matt Reeves)執(zhí)導(dǎo)，既沉重又刺激，展示了大場(chǎng)面動(dòng)作電影可以在不影響視覺效果的前提下探索政治和道德問題。安迪·瑟基斯(Andy Serkis)依然是本片的關(guān)鍵。他在三部影片中都飾演凱撒，他的表演是現(xiàn)代電影中最偉大的成就之一，將數(shù)字技術(shù)與可靠的戲劇表演技巧融合到了一起，令人嘆為觀止。

AND ALSO (in alphabetical order): “The Bad Batch”; “BPM (Beats Per Minute)”; “Call Me by Your Name”; “Dawson City: Frozen Time”; “I Called Him Morgan”; “Logan Lucky”; “The Meyerowitz Stories (New and Selected)”; “Mudbound”; “Okja”; “The Post”; “The Shape of Water.”

我喜歡的電影還包括(按字母順序)：《劣質(zhì)愛情》(The Bad Batch);《每分鐘120擊》(BPM [Beats Per Minute];《請(qǐng)以你的名字呼喚我》;《道森市：冰封時(shí)光》;《我叫他摩根》(I Called Him Morgan);《神偷聯(lián)盟》(Logan Lucky);《邁耶羅維茨的故事》;《泥土之界》;《玉子》(Okja);《華盛頓郵報(bào)》;《水形物語(yǔ)》(The Shape of Water)。