2019上半年最值得看的8部电影
We’re just about halfway through a year that has been packed so far with terrific movies. If you’ve seen major hits like “Avengers: Endgame” (returning to theaters on Friday) and “Us” (which can be found on streaming services), this is your chance to catch up on some overlooked gems that our chief critics, Manohla Dargis and A.O. Scott, say are the best of the best:
一年过半，到目前为止，我们已经看了很多佳作。如果你已经看过《复仇者联盟：终局之战》（Avengers: Endgame，将于周五再度上映）和《我们》（Us，可在流媒体服务上观看）这样的大热之作，以下是让你沧海拾珠的机会，我们的首席影评人曼诺拉·达吉斯(Manohla Dargis)和A·O·斯科特(A.O. Scott)认为，这些片子是佳作中的佳作：
‘The Souvenir’
《纪念品》(The Souvenir)
THE STORY Based on an episode in the life of its writer-director, Joanna Hogg, this drama follows a British film student (Honor Swinton Byrne) and her relationship with a boyfriend (Tom Burke) who may or may not work for the Foreign Office but is certainly a heroin addict.
剧情：影片改编自本片编剧兼导演乔安娜·霍格(Joanna Hogg)生活中的一段故事，讲述了一个英国电影专业学生（奥诺·斯温顿·伯恩[Honor Swinton Byrne]饰）与男友（汤姆·伯克[Tom Burke]饰）的关系，他可能是、可能不是在外交部工作，但可以肯定的是，他是海洛因成瘾者。
A.O. SCOTT’S TAKE This is “one of my favorite movies of the year so far, but I almost want to keep it a secret. Partly because it’s the kind of film — we all have a collection of these, and of similar books and records, too — that feels like a private discovery, an experience you want to protect rather than talk about.”
A.O.斯科特的评语：这是“目前为止我最喜欢的电影之一，但我不大想说出来。部分原因是因为它是那种你发现了之后，希望秘而不宣的电影——我们都有这样一个藏单，书和唱片方面也有类似的情况”。
‘The Last Black Man in San Francisco’
《旧金山最后一个黑人》(The Last Black Man in San Francisco)
THE STORY In this quiet tale that touches on issues of race, class and gentrification in the Bay Area, Jimmie Fails (played by the actor of the same name) is determined to take possession of the Victorian house that was once his family home.
剧情：这个安静的故事涉及湾区的种族、阶层和士绅化问题，讲述了吉米·弗尔(Jimmie Fails)饰演的同名人物决心买下一栋维多利亚式房子，那里曾经是他的家。
MANOHLA DARGIS’S TAKE In this film from the director Joe Talbot, “the desire for home is at once existential and literal, a matter of self and safety, being and belonging. This is of course part of the story of being black in the United States, which perhaps makes the movie sound like a dirge when it’s more of a reverie. Or, rather, it’s both at once and sometimes one and then the other.”
曼诺拉·达吉斯的评语：在导演乔·塔尔博(Joe Talbot)的这部电影中，“对家的渴望既是实际存在的，也是字面意义上的，它关乎自我和安全、存在和归属感。它当然是美国黑人故事的一部分，这可能让这部电影听起来像一首挽歌，而实际上它更多是一种梦幻曲。或者更确切地说，它们是同时存在的，有时又交替出现。”
‘Her Smell’
《她的气味》(Her Smell)
THE STORY Elisabeth Moss is Becky Something, a rock ’n’ roll singer who bears more than a passing resemblance to Courtney Love in this tale of art and dysfunction from the writer-director Alex Ross Perry.
剧情：伊丽莎白·莫斯(Elisabeth Moss)饰演的摇滚歌手贝琪·桑辛(Becky Something)，与寇特妮·洛芙(Courtney Love)有颇多相似之处。亚历克斯·罗斯·佩里(Alex Ross Perry)是这部讲述艺术和官能障碍之作的编剧和导演。
A.O. SCOTT’S TAKE “Moss is deep in Becky’s skin, and Perry is steadfastly on her side. Not that he condones or forgives. She is gleefully cruel and monstrously inconsiderate to everyone around her, daring them to fight back or flee.”
A.O.斯科特的评语：“莫斯简直是贝琪上身，佩里则坚定地跟她站在一边。并不是说他宽恕或者原谅了。她以残酷为乐，对周围的人漠不关心，并且拿定他们不敢反抗或逃跑。”
‘Gloria Bell’
《葛洛利亚·贝尔》(Gloria Bell)
THE STORY This character study follows Gloria Bell (Julianne Moore), middle-aged and divorced with grown children, as she seeks to connect and find fulfillment in Los Angeles. It’s a remake of the Chilean film “Gloria,” by the writer-director of that movie, Sebastián Lelio.
剧情：这个人物研究报告以葛洛利亚·贝尔（朱丽安·摩尔[Julianne Moore]饰）为中心，她是一名子女已成年的中年离异人士，在洛杉矶寻找情感联系并如愿以偿。电影翻拍自智利电影《葛洛利亚》，塞巴斯蒂安·莱里奥(Sebastián Lelio)是这两部电影的编剧和导演。
MANOHLA DARGIS’S TAKE Working with “a transcendent Julianne Moore,” the director “is acutely sensitive to the absurdities of everyday life, including the comedy of humiliation, both petty and wounding.”
玛诺拉·达尔吉斯的评语：通过与“超凡脱俗的朱丽安·摩尔”合作，导演“对日常生活的荒诞处理得极其细致，包括羞辱的喜剧，既琐碎又伤人。”
‘Booksmart’
《高材生》(Booksmart)
THE STORY Headed to the Ivy League in the fall, Molly and Amy are dismayed to learn that their far less studious peers are going to top colleges as well. On their last day in high school, the best friends (Beanie Feldstein and Kaitlyn Dever) decide they need to gain a reputation for partying before they graduate.
剧情：秋季将就读常春藤盟校的莫莉(Molly)和艾米(Amy)沮丧地得知，他们那些不怎么用功的同学也会去顶尖大学。高中最后一天，两个最要好的朋友（比妮·费尔德斯坦[Beanie Feldstein]和凯特琳·德弗[Kaitlyn Dever]饰）决定，他们需要在毕业前建立一个热衷狂欢派对的名声。
A.O. SCOTT’S TAKE “Infusing some familiar situations with an exuberant, generous, matter-of-factly feminist sensibility,” this comedy directed by Olivia Wilde is “sharp but not mean, warm without feeling too soft or timid.”
A·O·斯科特的评语：“将一些熟悉的情境与欢快、宽宏、实事求是的女性主义感性融合在一起，”奥利维亚·王尔德(Olivia Wilde)执导的这部喜剧片“尖锐而不刻薄，温暖而不使人感到过于柔软或胆怯”。
‘Rolling Thunder Revue’
《滚雷巡演》(Rolling Thunder Revue)
THE STORY Subtitled “A Bob Dylan Story by Martin Scorsese,” this documentary chronicles the free-form concert tour that Dylan and assorted colleagues began in 1975 and blends scenes shot at the time with new, fictionalized episodes.
剧情：副标题为“马丁·斯科塞斯(Martin Scorsese)的一则鲍勃·迪伦故事”。这部纪录片记录了迪伦和各路同行在1975年开始的一种形式自由的巡回演唱会，并将当时拍摄的场景与新的虚构片段融为一体。
MANOHLA DARGIS’S TAKE “It’s at once a celebration and a rescue mission (it draws heavily on restored film footage), as well as another chapter in Scorsese’s decades-long chronicling of Dylan.”
玛诺拉·达尔吉斯的评语：“它既是一次颂扬又是一场抢救行动（影片大量使用修复的电影片段），也是斯科塞斯数十年来著写的迪伦史的又一章。”
‘The Edge of Democracy’
《民主的边缘》(The Edge of Democracy)
THE STORY This documentary examines Brazilian politics — two recent presidents in disgrace, the current one leaning toward authoritarianism — from the outraged point of view of the filmmaker, Petra Costa.
剧情：这部纪录片从导演佩特拉·科斯塔(Petra Costa)的愤怒视角探讨巴西政治——最近两名总统名声扫地，当前这个正向威权主义倾斜。
A.O. SCOTT’S TAKE Costa’s take “is by turns incredulous, indignant and self-questioning.” Her film is “a chronicle of civic betrayal and the abuse of power, and also of heartbreak.”
A·O·斯科特的评语：科斯塔的看法“在怀疑、愤慨和自我反省之间流转。”她的电影“纪录了背叛国民和滥用权力的历史，以及心碎的历史。”
‘Transit’
《过境》(Transit)
THE STORY Set in an indeterminate time when soldiers are invading Paris, a German émigré (Franz Rogowski) there flees to Marseille, where he meets other refugees as he awaits the papers that will let him leave the country.
剧情：故事发生在不确定的时间，军队即将入侵巴黎，这里的一名德国侨民（弗兰茨·罗戈夫斯基[Franz Rogowski]饰）逃到马赛，在等待让他离开法国的文件时，他将在那里见到其他难民。
MANOHLA DARGIS’S TAKE The director Christian Petzold “doesn’t over-explain the trickier plot entanglements, confident in his audience’s ability to sort through its thickets. He embraces ambiguity as a principle but also sometimes gives the movie the accelerated pulse of an action flick.”
玛诺拉·达尔吉斯的评语：导演克里斯蒂安·佩措尔德(Christian Petzold)“未过多解释棘手的阴谋纠葛，他相信观众能从错综复杂中理清原委。他将模糊性作为一种原则，但有时也会赋予影片一种动作片的快节奏。”
作者：STEPHANIE GOODMAN
翻译：李建芳、杜然
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