BBC：21世紀(jì)最偉大的25部電影盤(pán)點(diǎn)
11
醉鄉(xiāng)民謠
Inside Llewyn Davis (2024)
導(dǎo)演：伊桑·科恩 / 喬爾·科恩(Joel and Ethan Coen)
He's a messy haired loner strumming an acoustic guitar, struggling to show the world he's got talent. No one cares, and no one wants to listen.
他獨(dú)自一人漫不經(jīng)心地彈著民謠吉他，發(fā)絲凌亂，掙扎著告訴世界自己的才華。但無(wú)人駐足，無(wú)人在意。
Set in the Greenwich Village folk scene of the 1960s, the Coen brothers' Inside Llewyn Davis is an achingly melodic tribute to an unloved underdog.
故事發(fā)生在六十年代的美國(guó)格林威治村，科恩兄弟的這部作品描畫(huà)了一個(gè)沒(méi)人關(guān)愛(ài)的失敗者辛酸落魄又旋律悠揚(yáng)的生活。
Davis (Oscar Isaac) is striking out on his own after his musical partner goes solo. Along his dour journey, he'll find others vying for similar success and others just trying to survive, in a very Coen-esque manner.
主角戴維斯(奧斯卡?伊薩克飾)在搭檔離去后背著吉他孑然一身地獨(dú)唱。在他陰郁的獨(dú)行路上，他會(huì)發(fā)現(xiàn)還有人跟他一樣掙扎著觸摸光明，還有很多人僅是卑微地生存著，一切都以典型的科恩兄弟式的方式展現(xiàn)出來(lái)。
– Monica Castillo, The New York Times’ Watching, US
12
十二宮
Zodiac (2007)
導(dǎo)演：大衛(wèi)·芬奇(David Fincher)
Zodiac, David Fincher's meticulous, gorgeous and haunting true crime movie, is a deep dive into obsession, following a newspaper cartoonist who becomes consumed by the 1970s Zodiac murders.
《十二宮》是大衛(wèi)·芬奇一部細(xì)膩、驚艷、貨真價(jià)實(shí)的犯罪電影，看過(guò)經(jīng)久難忘。電影通過(guò)講述一名報(bào)紙漫畫(huà)家卷入70年代的十二宮連環(huán)殺人案的故事，深刻地瘋魔了一把。
Gloriously detail-driven, Zodiac drags viewers into a compulsive world where the smallest hint can be the biggest clue, and it presents the obsessive’s worst nightmare: that, in the end, answers are utterly unattainable.
電影在讓人驚嘆的細(xì)節(jié)中發(fā)展，把觀眾拖入一個(gè)欲罷不能的世界，最細(xì)微的暗示都可能是最大的線(xiàn)索。然而，卻給了瘋魔者們一個(gè)最害怕的夢(mèng)魘：真相永遠(yuǎn)不可知曉。
– Devin Faraci, BirthMoviesDeath, US
13
人類(lèi)之子
Children of Men (2006)
導(dǎo)演：阿方索·卡隆(Alfonso Cuarón)
Here’s a bold statement about a bold movie: Children of Men, like no other film this century, and perhaps no other movie ever, solves the meaning of life.
給這部大膽的電影下一個(gè)大膽的評(píng)論：《人類(lèi)之子》不同于本世紀(jì)任何一部電影，也許迥異于歷史上任何一部電影，回答了什么是生命的意義。
Alfonso Cuarón’s staggering 2006 adaptation of PD James’ novel is rich and vital in its emotional and philosophical depth: its sadness, its anger, its reverence and worry for humanity.
阿方索·卡隆在2006年改編自PD·詹姆斯原著的這部令人震驚的電影，在情感和哲學(xué)深度上都極為豐富和重要：它的悲哀、它的憤怒，和對(duì)人性的膜拜和擔(dān)憂(yōu)。
– Richard Lawson, Vanity Fair, US
14
殺戮演繹
The Act of Killing (2024)
導(dǎo)演：?jiǎn)淌?奧本海默(Joshua Oppenheimer)
Harrowing, confrontational and surreal, The Act of Killing ends with Anwar Congo, the gangster who murdered nearly 1,000 people in 1965-66 following the military coup in Indonesia, coming to terms with his heinous crimes. Possibly. He sobs, vomits and laments the lives he had willfully taken away, and yet we're never sure if he's genuinely repentant or if it's all a high-wire act on his part.
折磨人心、充滿(mǎn)對(duì)抗和不真實(shí)感的《殺戮演繹》，在劊子手安瓦爾?岡戈(Anwar Congo)承認(rèn)自己令人發(fā)指的罪行后結(jié)束。從1965年到1966年，在印度尼西亞的軍事政變后，安瓦爾屠殺了近千人。他為那些他肆意殺害的生命抽泣、嘔吐、感嘆，但我們并不知道他是不是真的在懺悔，或者這只是他做作地表演。
The Act of Killing is a piercing, multilayered study about national amnesia, about the power of self-deceit and the questionable morality of truth-seeking. Its status as the 21st Century's most celebrated documentary will likely be preserved for a long time to come.
這部電影是對(duì)舉國(guó)遺忘一段歷史這種現(xiàn)象的深刻而多層次的研究，同時(shí)也是對(duì)自我欺騙的力量和追尋真相與道德角力的探索。它作為21世紀(jì)最偉大的紀(jì)錄片的地位，將會(huì)長(zhǎng)遠(yuǎn)地保持下去。
– Joseph Fahim, Freelance, Egypt
15
四月三周兩天
4 Months, 3 Weeks and 2 Days
導(dǎo)演：克里斯蒂安·蒙久(Cristian Mungiu)
One scene, one cut, zero music. Cristian Mungiu's 2007 Palme d'Or winner is a touchstone of the Romanian New Wave, a stark wonder of a film exemplified by visual precision, a bracingly clear-eyed script and glacial detachment. Imbuing a backstreet abortion with the brutal tension of a crime thriller – and abortion was a crime in 1980s Romania – Mungiu evokes the callous and repressive atmosphere of Ceausescu's foundering dictatorship.
一個(gè)場(chǎng)景只有一個(gè)長(zhǎng)鏡頭，沒(méi)有背景音樂(lè)。蒙久這部作品摘得2007年金棕櫚獎(jiǎng)。作為羅馬尼亞新浪潮的試金石，它以準(zhǔn)確的視覺(jué)、清晰的劇本和以超然的視角完成了一次質(zhì)樸的驚艷。1980年代，羅馬尼亞墮胎還是違法的，片中的秘密墮胎貫穿著犯罪驚悚片的緊張感，讓人想起了齊奧塞斯庫(kù)獨(dú)裁統(tǒng)治下無(wú)情壓抑的氛圍。
– Maggie Lee, Variety, Hong Kong
11
醉鄉(xiāng)民謠
Inside Llewyn Davis (2024)
導(dǎo)演：伊桑·科恩 / 喬爾·科恩(Joel and Ethan Coen)
He's a messy haired loner strumming an acoustic guitar, struggling to show the world he's got talent. No one cares, and no one wants to listen.
他獨(dú)自一人漫不經(jīng)心地彈著民謠吉他，發(fā)絲凌亂，掙扎著告訴世界自己的才華。但無(wú)人駐足，無(wú)人在意。
Set in the Greenwich Village folk scene of the 1960s, the Coen brothers' Inside Llewyn Davis is an achingly melodic tribute to an unloved underdog.
故事發(fā)生在六十年代的美國(guó)格林威治村，科恩兄弟的這部作品描畫(huà)了一個(gè)沒(méi)人關(guān)愛(ài)的失敗者辛酸落魄又旋律悠揚(yáng)的生活。
Davis (Oscar Isaac) is striking out on his own after his musical partner goes solo. Along his dour journey, he'll find others vying for similar success and others just trying to survive, in a very Coen-esque manner.
主角戴維斯(奧斯卡?伊薩克飾)在搭檔離去后背著吉他孑然一身地獨(dú)唱。在他陰郁的獨(dú)行路上，他會(huì)發(fā)現(xiàn)還有人跟他一樣掙扎著觸摸光明，還有很多人僅是卑微地生存著，一切都以典型的科恩兄弟式的方式展現(xiàn)出來(lái)。
– Monica Castillo, The New York Times’ Watching, US
12
十二宮
Zodiac (2007)
導(dǎo)演：大衛(wèi)·芬奇(David Fincher)
Zodiac, David Fincher's meticulous, gorgeous and haunting true crime movie, is a deep dive into obsession, following a newspaper cartoonist who becomes consumed by the 1970s Zodiac murders.
《十二宮》是大衛(wèi)·芬奇一部細(xì)膩、驚艷、貨真價(jià)實(shí)的犯罪電影，看過(guò)經(jīng)久難忘。電影通過(guò)講述一名報(bào)紙漫畫(huà)家卷入70年代的十二宮連環(huán)殺人案的故事，深刻地瘋魔了一把。
Gloriously detail-driven, Zodiac drags viewers into a compulsive world where the smallest hint can be the biggest clue, and it presents the obsessive’s worst nightmare: that, in the end, answers are utterly unattainable.
電影在讓人驚嘆的細(xì)節(jié)中發(fā)展，把觀眾拖入一個(gè)欲罷不能的世界，最細(xì)微的暗示都可能是最大的線(xiàn)索。然而，卻給了瘋魔者們一個(gè)最害怕的夢(mèng)魘：真相永遠(yuǎn)不可知曉。
– Devin Faraci, BirthMoviesDeath, US
13
人類(lèi)之子
Children of Men (2006)
導(dǎo)演：阿方索·卡隆(Alfonso Cuarón)
Here’s a bold statement about a bold movie: Children of Men, like no other film this century, and perhaps no other movie ever, solves the meaning of life.
給這部大膽的電影下一個(gè)大膽的評(píng)論：《人類(lèi)之子》不同于本世紀(jì)任何一部電影，也許迥異于歷史上任何一部電影，回答了什么是生命的意義。
Alfonso Cuarón’s staggering 2006 adaptation of PD James’ novel is rich and vital in its emotional and philosophical depth: its sadness, its anger, its reverence and worry for humanity.
阿方索·卡隆在2006年改編自PD·詹姆斯原著的這部令人震驚的電影，在情感和哲學(xué)深度上都極為豐富和重要：它的悲哀、它的憤怒，和對(duì)人性的膜拜和擔(dān)憂(yōu)。
– Richard Lawson, Vanity Fair, US
14
殺戮演繹
The Act of Killing (2024)
導(dǎo)演：?jiǎn)淌?奧本海默(Joshua Oppenheimer)
Harrowing, confrontational and surreal, The Act of Killing ends with Anwar Congo, the gangster who murdered nearly 1,000 people in 1965-66 following the military coup in Indonesia, coming to terms with his heinous crimes. Possibly. He sobs, vomits and laments the lives he had willfully taken away, and yet we're never sure if he's genuinely repentant or if it's all a high-wire act on his part.
折磨人心、充滿(mǎn)對(duì)抗和不真實(shí)感的《殺戮演繹》，在劊子手安瓦爾?岡戈(Anwar Congo)承認(rèn)自己令人發(fā)指的罪行后結(jié)束。從1965年到1966年，在印度尼西亞的軍事政變后，安瓦爾屠殺了近千人。他為那些他肆意殺害的生命抽泣、嘔吐、感嘆，但我們并不知道他是不是真的在懺悔，或者這只是他做作地表演。
The Act of Killing is a piercing, multilayered study about national amnesia, about the power of self-deceit and the questionable morality of truth-seeking. Its status as the 21st Century's most celebrated documentary will likely be preserved for a long time to come.
這部電影是對(duì)舉國(guó)遺忘一段歷史這種現(xiàn)象的深刻而多層次的研究，同時(shí)也是對(duì)自我欺騙的力量和追尋真相與道德角力的探索。它作為21世紀(jì)最偉大的紀(jì)錄片的地位，將會(huì)長(zhǎng)遠(yuǎn)地保持下去。
– Joseph Fahim, Freelance, Egypt
15
四月三周兩天
4 Months, 3 Weeks and 2 Days
導(dǎo)演：克里斯蒂安·蒙久(Cristian Mungiu)
One scene, one cut, zero music. Cristian Mungiu's 2007 Palme d'Or winner is a touchstone of the Romanian New Wave, a stark wonder of a film exemplified by visual precision, a bracingly clear-eyed script and glacial detachment. Imbuing a backstreet abortion with the brutal tension of a crime thriller – and abortion was a crime in 1980s Romania – Mungiu evokes the callous and repressive atmosphere of Ceausescu's foundering dictatorship.
一個(gè)場(chǎng)景只有一個(gè)長(zhǎng)鏡頭，沒(méi)有背景音樂(lè)。蒙久這部作品摘得2007年金棕櫚獎(jiǎng)。作為羅馬尼亞新浪潮的試金石，它以準(zhǔn)確的視覺(jué)、清晰的劇本和以超然的視角完成了一次質(zhì)樸的驚艷。1980年代，羅馬尼亞墮胎還是違法的，片中的秘密墮胎貫穿著犯罪驚悚片的緊張感，讓人想起了齊奧塞斯庫(kù)獨(dú)裁統(tǒng)治下無(wú)情壓抑的氛圍。
– Maggie Lee, Variety, Hong Kong
