BBC评出21世纪最伟大的100部电影，你看过几部？（附地址）
本文由中国日报网双语新闻原创，如需转载，请在主页回复“转载”获得转载说明。
BBC文化频道最近邀请全球177位影评人投票选出了21世纪最伟大的100部电影，大卫·林奇2001年的超现实名作《穆赫兰道》名列榜首，王家卫的《花样年华》位列第二。
除了《花样年华》，还有三部华语片上榜：杨德昌的《一一》【8】、李安的《卧虎藏龙》【35】以及侯孝贤的《刺客聂隐娘》【50】。
上榜作品最多的导演包括：维斯·安德森、阿彼察邦·韦拉斯哈古、克里斯托弗·诺兰、迈克尔·哈内克、保罗·托马斯·安德森和科恩兄弟，这几位导演均有三部影片上榜。
以下是榜单前25名，附BBC摘选的点评。
穆赫兰道
Mulholland Drive (2001)
导演：大卫·林奇（David Lynch）
（友情提示：全程高能，要看的同学保护好小心脏）
Lynch’s film is so gorgeous and so painful, so mysterious and, in many ways, so recognisable that, whatever theory you ascribe to it, the picture does indeed reflect a reality that moves beyond southern California and parks itself in our brains, tapping into our dreams, deepest fears, inscrutable natures, and erotic desires.
林奇的这部电影华美之极又痛苦之极，神秘诡谲又莫名熟悉，无论你套以何种解释，那些画面都能超越南加州，反观现实，并驻留在我们的脑海里，钻进我们的睡梦之中、恐惧深处，潜入我们无法名状的性情和肉欲中。
– Kim Morgan, Sunset Gun, US
花样年华
In the Mood for Love (2000)
导演：王家卫
Wong Kar-wai is one of world cinema’s most notorious perfectionists, but he earned every moment of editing-room indecision with In the Mood for Love, the rare movie that draws much of its melancholy power from what it leaves off-screen.
王家卫是世界影坛最臭名昭著的完美主义者，不过他耗在剪辑室里的每一个无法决断的瞬间，在《花样年华》中都值了。这是一部罕见的用留白来积蓄忧郁力量的电影。
We never see the faces of the spouses whose affair pulls two lonely neighbours into their delirious romantic spiral. We never see the sex scene that Wong shot but omitted, all the better to heighten the erotic charge of every swaying hip and every voluptuous swirl of the camera.
我们从未见到那两个出轨的配偶，正是他们的婚外情把两个孤独的邻居卷入一场意乱情迷的浪漫旋涡。我们也从未看到王家卫拍了又剪掉的床戏，这让每一次腰肢的摇曳和撩人的镜头都充满情色张力。
And we never hear the lost, whispered words at the climax, which would be superfluous in any case: never before has a film spoken so fluently in the universal language of loss and desire.
我们也从没听到过高潮部分那些无从知晓的喃喃细语，就算听到了，也是多余，因为从来没有哪部电影能将失落和欲望的普遍主题讲述得如此流畅。
– Justin Chang, Los Angeles Times
血色将至
There Will Be Blood (2007)
导演：保罗·托马斯·安德森（Paul Thomas Anderson）
在线观看地址（需付费）
From its near-wordless opening scene, Paul Thomas Anderson’s There Will Be Blood feels like something forged, not filmed.
几乎无声的开场使得保罗·托马斯·安德森这部《血色将至》像是锻造出来的，而不是拍出来的。
Daniel Day-Lewis, as turn-of-the-century prospector Daniel Plainview, grunts, spits and scrapes his way into a hole under baked Western earth; he strikes silver, drags his half-broken body to certify his claim, winds up discovering oil.
丹尼尔·戴·刘易斯饰演的矿工丹尼尔·普莱恩惟尤咕哝着、吐着唾沫星子，在炎热的西部地下开采。他找到了银矿，拖着自己半残的身体确认所得，竟意外发现了石油。
The rest of the movie – a sprawling, half-mad testament to greed, industry, moral hypocrisy and ballyhoo at their most elementally American – could be watched with no sound at all and still be perfectly understood.
接下来的电影蔓延伸展，半带疯狂地见证着最具美国特色的贪欲、工业、虚伪和喧嚣。同样可以完全不带声音地看下去，且丝毫不影响理解。
– Ann Hornaday, The Washington Post
千与千寻
Spirited Away (2001)
导演：宫崎骏
It’s hard to place any one of Studio Ghibli’s sweet, passionate animated films above the others, but Hayao Miyazaki’s Spirited Away does particularly stand out for its visual sophistication and elaborate themes of determination, courage and good cheer.
从吉卜力工作室诸多的甜美、富于激情的动画电影中选出一部最棒的并不容易，但宫崎骏的《千与千寻》确实以其高度成熟的画面语言、精心阐述的决心、勇气与乐观等主题而显得更加出彩。
Miyazaki’s story of a young girl trying to rescue her parents, feels like a throwback to an earlier age of hand-drawn animation. Made at a point where CGI was taking over animated features in theUS, Spirited Away has a lovingly handmade feel. It’s a traditional fairy tale turned into an exciting narrative of transformation and discovery.
宫崎骏这个关于小女孩努力解救父母的故事就像是带我们回到一个手绘动画的时代。在当时的美国，动画长片已基本上都由电脑绘图，但《千与千寻》却带着可爱的手绘质感。这部电影将传统神话打造为关于转变与发现的激动人心的叙事。
– Tasha Robinson, The Verge, US
少年时代
Boyhood (2014)
导演：理查德·林克莱特（Richard Linklater）
This 21st Century masterpiece took most of the 21st Century to make. For more than a decade, Richard Linklater spent a few weeks each year chronicling the life of Mason.
这部21世纪的杰作耗费了这个世纪的很长一段时间来制作。12年来，导演林克莱特每年花几个星期来记录男孩梅森的生活。
Watching the cast, which also includes Ethan Hawke and a remarkable Patricia Arquette, age before our eyes, adds an extra layer of poignancy to every single scene.
我们看着整个剧组，包括伊桑·霍克和出色的帕特丽夏·阿奎特，在眼前慢慢成长、老去，每一帧画面都因此增添了一抹辛酸滋味。
In an era when every aspect of society was accelerating, Linklater slowed down to tell the one of the definitive stories of our time.
在这样一个时代，社会的方方面面都在快节奏发展，而林克莱特却慢下步伐，耐心讲述了一个带有我们这个时代强烈印记的故事。
– Matt Singer, ScreenCrush, US
美丽心灵的永恒阳光
Eternal Sunshine of the Spotless Mind ( 2004)
导演：米歇尔·冈瑞（Michel Gondry）
The story of a breakup gone wrong, Eternal Sunshine of the Spotless Mind could easily have gone wrong itself. But this wasn't your average whimsical tale of romantic yearning.
这是一个分手分出一堆问题的故事，而电影本身也极有可能出问题。但它绝不是一部普通的浪漫幻想爱情片。
Jim Carrey boldly pushed against type to portray a perennially sad man literally trapped by his grievances and eager to let them unravel.
影片主演金•凯瑞这次跳脱了他一贯无厘头喜剧的风格，饰演了一个长期陷入忧郁和茫然，并努力想逃离这一切的男人。
But the movie belongs just as much to Kate Winslet, whose character's decision to erase her own memories of the ex-couple's time together sets the drama in motion.
这部电影同样属于女主凯特•温丝莱特，她想把与前男友的记忆从脑海中彻底抹去的决定，推动着剧情戏剧性地发展。
– Eric Kohn, Indiewire, US
生命之树
The Tree of Life (2011)
导演：泰伦斯·马力克（Terrence Malick）
Like a great poem, The Tree of Life opens itself to a thousand interpretations, as director Terrence Malick takes a spiritual and lyrical journey through time, from a dusty 1950s childhood in Texas back to the beginnings of the cosmos itself.
这是一部充满诗意的电影。从1950年代的少年时光到宇宙的起源，导演泰伦斯·马力克带领观众的心灵在时空中优雅地穿梭跳跃。
This strange new pillar in the cathedral of US cinema stars Brad Pitt as an authoritarian father and Jessica Chastain as a tender and deeply religious mother of three sons.
这部电影怪诞却无疑是挺立在美国电影殿堂中的新支柱。布拉德·皮特出演了一位父权至上，拥有三个孩子的父亲，杰西卡·查斯坦饰演了温柔但一丝不苟遵循宗教信条的母亲。
Emmanuel Lubezki’s cinematography is sun-dappled, or oozes images of boiling lava, dinosaurs and exploding planets, all to a soundtrack of Preisner’s Requiem — in this case a requiem to a dead son. The joys and aching losses of parenting become transcendent, even Biblical, in Malick’s hands.
在艾曼努尔·卢贝兹基镜头下的电影语言被日光照耀的斑驳陆离，充斥着滚滚岩浆、恐龙和爆炸的星体，与泽贝纽·普瑞斯纳的安魂曲完美结合，那是为死去的孩子演奏的安魂曲。在马力克的剧本中，这对父母亲的愉悦与悲伤被无限放大，甚至有些《圣经》的风格。
– Kate Muir, The Times, UK
一 一
Yi Yi: A One and a Two (2000)
导演：杨德昌
Audiences in 2000 were astonished by how fluently Edward Yang’s Yi Yi portrays contemporary life through the intermingling stories of members of a Taipei family separated by the dilemmas specific to their stations in life.
2000年的观众都为《一一》所震撼——杨德昌如何能将一个台北家庭中各个成员的不同故事混叠在一起叙述，却极其自然流畅地刻画出了当代生活。故事里，一家人因陷入不同生命阶段的特殊困境而互相隔绝。
Yi Yi is a reverently meticulous film, with its painstakingly detailed moods, and rituals that are seemingly endemic to the characters and their customs. Yet, it is also grandly universal. Its quiet reflections on life, love, family and death are all gracefully affecting, no matter the gap in generation and culture.
《一一》是一部用心至极的精致电影，颇费心思地细腻抒情，当中涉及的仪式场景带有地方性特色，贴合人物生活环境的习俗。但同时，这部电影却又具有普遍性意义。不论观者与电影中的人事隔着怎样的年代与文化差异，它那极安静的、对于生命、家庭与死亡的映射都是那样美而有感染力。
– Oggs Cruz, Rappler, Philippines
一次别离
A Separation (2011)
导演：阿斯哈·法哈蒂（Asghar Farhadi）
If there is a film that makes you take a deep look at yourself in the mirror again and again, this is it. Asghar Farhadi’s searing relationship drama does not make a judgement about its characters. Rather, it pitches the situations so realistically that the viewer ends up sympathising with both protagonists even though they are pitted against each other.
如果说有哪部电影能让你在看完后对着镜子陷入深深思考，那毫无疑问就是它了。阿斯哈·法哈蒂强烈的戏剧冲突没有对任何角色进行完全的褒贬。他将电影中的场景刻画得自然真实，到头来还让观众为了相互折磨的主人公们胸口发闷。
– Utpal Borpujari, Freelance, India
老无所依
No Country for Old Men (2007)
导演：伊桑·科恩 / 乔尔·科恩（Joel and Ethan Coen）
Readers of Cormac McCarthy’s No Country for Old Men put down the novel possessing a distinct image of its villain. The Anton Chigurh on the page became vividly seared into our consciousness. That image, though, is not Javier Bardem in the Coen Brothers’ Oscar-winner for best picture.
读过科马克·麦卡锡的小说《老无所依》的人都会对书中那个反派有一个鲜明印象。书中的冷血杀手安东·齐格已经深深烙进我们的意识中，那并不是科恩兄弟这部奥斯卡获奖影片主演哈维尔·巴登的形象。
Yet Bardem’s film characterisation is so powerful, so splendidly overwhelming in his random application of violence, that he manages to extinguish whatever preceded it in the mind of the audience.
然而，巴登的演绎太有力度，他用随意不经心的暴力表达华丽丽地将我们制服，把观众脑海中先前的印象一抹而光。
Set in West Texas in 1980, No Country for Old Men’s sense of time and place are unparalleled. There’s a hypnotic quality to the movie’s pace, watching characters you can’t help but like make a series of catastrophic decisions that bring each into Chigurh’s universe, a world soaked in blood with a predetermined outcome.
《老无所依》背景是1980年的德州西部。整部电影的节奏带着催眠般的效力，你看着那些你无法不爱的角色做出一系列灾难性的决定，把自己送进杀手齐格的世界，而那是一个用血腥浸染的世界，一切结果都已预知。
– Ben Mankiewicz, Turner Classic Movies, US
醉乡民谣
Inside Llewyn Davis (2013)
导演：伊桑·科恩 / 乔尔·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.
他独自一人漫不经心地弹着民谣吉他，发丝凌乱，挣扎着告诉世界自己的才华。但无人驻足，无人在意。
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.
故事发生在六十年代的美国格林威治村，科恩兄弟的这部作品描画了一个没人关爱的失败者辛酸落魄又旋律悠扬的生活。
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.
主角戴维斯（奥斯卡•伊萨克饰）在搭档离去后背着吉他孑然一身地独唱。在他阴郁的独行路上，他会发现还有人跟他一样挣扎着触摸光明，还有很多人仅是卑微地生存着，一切都以典型的科恩兄弟式的方式展现出来。
– Monica Castillo, The New York Times’ Watching, US
十二宫
Zodiac (2007)
导演：大卫·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.
《十二宫》是大卫·芬奇一部细腻、惊艳、货真价实的犯罪电影，看过经久难忘。电影通过讲述一名报纸漫画家卷入70年代的十二宫连环杀人案的故事，深刻地疯魔了一把。
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.
电影在让人惊叹的细节中发展，把观众拖入一个欲罢不能的世界，最细微的暗示都可能是最大的线索。然而，却给了疯魔者们一个最害怕的梦魇：真相永远不可知晓。
– Devin Faraci, BirthMoviesDeath, US
人类之子
Children of Men (2006)
导演：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.
给这部大胆的电影下一个大胆的评论：《人类之子》不同于本世纪任何一部电影，也许迥异于历史上任何一部电影，回答了什么是生命的意义。
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年改编自PD·詹姆斯原著的这部令人震惊的电影，在情感和哲学深度上都极为丰富和重要：它的悲哀、它的愤怒，和对人性的膜拜和担忧。
– Richard Lawson, Vanity Fair, US
杀戮演绎
The Act of Killing (2012)
导演：乔什•奥本海默（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、充满对抗和不真实感的《杀戮演绎》，在刽子手安瓦尔•冈戈（Anwar Congo）承认自己令人发指的罪行后结束。从1965年到1966年，在印度尼西亚的军事政变后，安瓦尔屠杀了近千人。他为那些他肆意杀害的生命抽泣、呕吐、感叹，但我们并不知道他是不是真的在忏悔，或者这只是他做作地表演。
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.
这部电影是对举国遗忘一段历史这种现象的深刻而多层次的研究，同时也是对自我欺骗的力量和追寻真相与道德角力的探索。它作为21世纪最伟大的纪录片的地位，将会长远地保持下去。
– Joseph Fahim, Freelance, Egypt
四月三周两天
4 Months, 3 Weeks and 2 Days
导演：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.
一个场景只有一个长镜头，没有背景音乐。蒙久这部作品摘得2007年金棕榈奖。作为罗马尼亚新浪潮的试金石，它以准确的视觉、清晰的剧本和以超然的视角完成了一次质朴的惊艳。1980年代，罗马尼亚堕胎还是违法的，片中的秘密堕胎贯穿着犯罪惊悚片的紧张感，让人想起了齐奥塞斯库独裁统治下无情压抑的氛围。
– Maggie Lee, Variety, Hong Kong
神圣车行
Holy Motors
导演：莱奥·卡拉克斯（Leos Carax）
在线观看地址Holy Motors is not a movie. It is an act of grief designed as an expression of love, and while enfant terrible Leos Carax has been an essential director for any film fan since his debut, he has never before laid himself bare in the way he does with this movie, in which a man is driven around in a limousine, assumes various disguises and personas, and connects and disconnects with people who flit into his life. Surreal, silly, sexy and sad, Holy Motors is a guided tour through everything about cinema that matters to Carax.
《神圣车行》不是一部电影。它是一次悲伤的行动，却被设计为爱的表达，在影迷心中，电影顽童莱奥·卡拉克斯从处女作开始就是位了不起的导演。他从来不曾像在本片中这样袒露自己，这部电影里，一个男子开着豪华车四处游荡，以各种造型扮演不同的角色，与路过他生命的人们发生联系又离开。离奇、愚蠢、性感、悲伤，神圣车行是一次有意安排的旅程，途经与电影有关的、在卡拉克斯心中有分量的一切。
– Drew McWeeny, Hitfix, US
潘神的迷宫
Pan's Labyrinth
导演: 吉尔莫·德尔·托罗（Guillermo del Toro）
在线观看地址 Del Toro gives us a look into the horrors of war– in this case the Spanish Civil War. A twin of Del Toro's beautiful Civil War picture, The Devil's Backbone, Pan's Labyrinth gives us tragedy through the filter of fantasy, going deep into a well of suffering and magic. Its power lies in its purity: nothing we can imagine is as terrible as what we can do to each other.德尔托罗让我们一窥战争的恐怖——在这里特指西班牙内战。德尔托罗关于内战的瑰丽景象中，《鬼童院》和《潘神的迷宫》就像是一对双胞胎，后者透过梦幻的滤镜给我们讲了一个悲剧，潜入至一口充斥痛苦与魔法的深井。这部电影的力量来自其纯粹性：我们想象不出任何比人类互相伤害更可怕的事。– Ana Maria Bahiana, Freelance, Brazil
白丝带
The White Ribbon
导演：迈克尔·哈内克（Michael Haneke）
在线观看地址"A group of children act together as silent perpetrators of crimes" is an already disturbing premise. By setting the story in a north German village in the months prior to World War One, Haneke not only challenged the myth of childhood innocence but also delivered a fictional prequel to the upcoming events in Germany. With any Haneke film, guilt and malice are in the air and no one in particular is to be blamed.
“一群孩子成为沉默的犯罪者”，这一设定已足够令人不安，然而哈内克还把背景设在一次世界大战数月前的德国村庄，不但挑战了童年是天真的这一神话，而且这个虚构的故事仿佛是战争的前传。哈内克的电影总是挖掘人性的罪恶，而其中并没有谁就应该受到谴责。
疯狂的麦克斯：狂暴之路
Mad Max: Fury Road
导演：乔治·米勒（George Miller）
在线观看地址With Mad Max: Fury Road, George Miller dialed up the modern blockbuster to full blast. A cohesive vision with a structured journey built around themes of survival and endurance, the fourth entry in the dystopian franchise showcased what is otherwise the narrative and thematic drought within the Hollywood blockbuster machine. Without resorting to cheap cynicism and faux-grittiness, Miller zeroes in on the sensuality of the environments, the carefully crafted machines and scorched landscapes.
乔治·米勒用《疯狂的麦克斯：狂暴之路》燃爆了一颗现代商业大片的炸弹。这个反乌托邦系列的第四部作品不同于其他平铺直叙的好莱坞大片，而是用有凝聚力的视野和有组织的旅程讲述了生存和忍耐的主题。米勒没有用廉价的愤世嫉俗来讲故事，也没有刻意塑造坚毅果敢的人物性格，而是把注意力放在营造环境的刺激上，比如精心制作的机器、太阳炙烤的大地等等。
– Justine A Smith, Freelance, Canada
纽约提喻法
Synecdoche, New York
导演：查理·考夫曼（Charlie Kaufman）
在线观看地址Synecdoche, New York is every deep-seated fear you've ever had, writ large: you've disappointed your spouse and failed your children, you've let your loved ones die lonely, excruciating deaths, and you'll never complete the work you were put here to do because you, too, will reach the end before you know it. And that, paradoxically, is what makes it so affirming. Kaufman's masterpiece isn't joyful, but it's bursting at the seams with wild ambition and brimming with empathy. It's a reminder that even at our lowest and darkest, we are not alone.
《纽约提喻法》讲的是我们每个人都有过的深层恐惧，显而易见：你的配偶和孩子对你失望，你爱的人孤独痛苦地死去，你永远完成不了自己的作品，因为你也快死了，而你自己还浑然不觉。但矛盾的是，这些恐惧反而是一种肯定。考夫曼的作品并不欢乐，而是充斥着野心和同情心，它提醒我们，即使在最失落最黑暗的时刻，我们也并不孤单。
– Angie Han, Slashfilm, US
布达佩斯大饭店
The Grand Budapest Hotel
导演：韦斯·安德森（Wes Anderson）
在线观看地址The Grand Budapest Hotel is the 21st Century's farewell salute to the century before. It vaults backwards in time from today to 1985 to 1968 to 1932. We know Gustave's immaculate world is ticking towards destruction, first by war, then by decades of neglect. Inevitably, the lazy and impersonal present will win, mass-producing not just our hotels, but our cinemas and the blockbusters on their screens. Wes Anderson has spent his career fussing over wallpapers. The Grand Budapest Hotel ennobles his craftsmanship.
《布达佩斯大饭店》是21世纪向上个世纪的告别致敬之作。本片的时间轴从当下开始，之后跳跃到了1985年、1968年和1932年。我们知道，古斯塔夫的完美世界正一点点走向毁灭，先是因为战争，接着则是几十年的漠视。不可避免地，这个懒惰且毫无个性的当今世界会战胜过去，在当下，被大规模批量制造出来的不只是饭店，还有我们的电影院，以及影院里的大片。韦斯·安德森以整个职业生涯苦心孤诣地打造壁纸般唯美的镜头，《布达佩斯大饭店》使他精妙的技艺展露无遗。 – Amy Nicholson, MTV, US
迷失东京
Lost in Translation
导演：索菲亚·科波拉（Sofia Coppola）
在线观看地址Please stop trying to figure out what Bill Murray says to Scarlett Johansson at the end of Sofia Coppola's beautiful and ineffably bittersweet second film; the words don't matter, and the moment is only so powerful because you can't hear them. It's this brief encounter on the streets of Shinjuku — this last goodbye between a dislocated young philosophy grad and a disenchanted old movie star — that solidifies Lost in Translation as her most perfect film, the one that best articulates how it can be to find yourself in a world that seldom lets you forget where you are.
请别再研究比尔·墨菲最后对斯嘉丽·约翰逊说了什么了，那些话并不重要，那一刻之所以如此具有感染力，正是因为你听不到他们说了什么。索菲亚·科波拉的第二部作品《迷失东京》既甜蜜又哀伤，有种难以言喻的美丽。年轻的哲学系女毕业生与过气的电影明星，身处异乡的两人，在新宿街头的短暂相遇，最后一次互相告别，正是这些使得《迷失东京》成为索菲亚·科波拉最优秀的作品。它讲述的是，无论身处何方，到头来人始终无法忘记自己的身份。
– David Ehrlich, Indiewire, US
隐藏摄像机
Caché
导演：迈克尔·哈内克（Michael Haneke）
在线观看地址Daniel Auteuil and Juliette Binoche star as a bourgeois Parisian couple that start to receive disturbing video tapes showing their home. Who is watching them? And what is actually revealed on those tapes? As soon as you realise that the true revelation lies in the couple's reaction to the tapes, things start to dissolve. Interior and exterior conflict, individual and collective guilt become one.
丹尼尔·奥图和朱丽叶·比诺什饰演的一对巴黎中产阶级夫妇收到了奇怪的录像带，这些录像带显示有人注视着他们家的一举一动。谁在注视着他们？这些录像带又揭示了什么？想要揭开这个秘密，夫妇俩对录像带的反应是关键。当你意识到这点时，真相开始浮出水面。内在与外在冲突、个人与集体罪行合二为一。
– Hannah Pilarczyk, Der Spiegel, Germany
大师
The Master
导演：保罗·托马斯·安德森（Paul Thomas Anderson）
在线观看地址Paul Thomas Anderson's ambitious, powerful and ultimately elegiac masterpiece centres on the question of whether man is, in fact, an animal. Tormented alcoholic Freddie Quell returns from World War Two and struggles, unsuccessfully, to conform to post-war America's social evolution.
保罗·托马斯·安德森这部宏大的杰作颇具感染力，其根本是哀伤的，它探讨的是，人到底是不是动物。饱受磨难的酒鬼弗莱迪·奎尔从二次大战退伍回家后，无法适应战后美国社会的变化。
Eventually he finds some sort of deliverance in the company and teachings of the leader of an urban cult, Lancaster Dodd. Much has been made of the analogies between Scientology and Dodd's cause, but the real point of the film is an exploration of thought and consciousness, and whether submission to belief systems can genuinely tame atavism.
在宗教狂热分子兰卡斯特·多德的陪伴和教导下，他找到了某种解脱。很多人拿多德的宗教跟科学神教作类比，但本片真正的目的在于，探索思想和意识，以及信奉某种信仰体系能否真正克服返祖现象。– Ali Arikan, Dipnot TV, Turkey
记忆碎片
Memento
导演：克里斯托弗·诺兰（Christopher Nolan）
在线观看地址Christopher Nolan's Memento, an airtight puzzle of a movie about a man who can't form new memories searching for his wife's killer, set a standard for narrative sophistication that few mainstream films have tried to duplicate. The film forces us to consider the unreliability of human memory and our tendency toward self-deception, even as it thrills us with a captivating crime-noir story. An existential tragedy masquerading as a twisty bit of pulp fiction? Unforgettable.
诺兰的《记忆碎片》讲述了一个失忆男子寻找杀死妻子的凶手的故事。这个无懈可击的谜题为严密复杂的叙事树立了一个标准，主流电影中少有模仿者。这部引人入胜的黑色犯罪片迫使我们思考人类记忆的不可靠以及自欺欺人的倾向。看似转弯抹角的粗俗小说，实则一出存在主义的悲剧。令人难忘。
– Eric D Snider, Freelance, US
编辑：祝兴媛 左卓
实习编辑：杨燕媚 王曦莹
中国日报网双语新闻
（ID:chinadaily_mobile）
为您的英语保鲜
长按可关注本微信号
↓↓↓完整榜单见阅读原文