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| Two of the biggest films in China this year were neither chest-thumping odes to patriotism nor slapstick buddy comedies. They featured no superheroes or intricately choreographed car chase scenes. |
| 中国今年最卖座的两部电影不是对爱国主义的激动讴歌，也不是滑稽的搭档喜剧。片中没有超级英雄，也没有复杂的特技追车场景。 |
| Instead, they were thoughtful explorations of issues that are familiar to millions of women in China today, like the constant struggle between family obligations and career ambitions or the complicated bond between a mother and a daughter. |
| 相反，这两部电影缜密思考，探索当今中国成百上千万女性熟知的问题，比如家庭责任与职业抱负之间的永恒难题，或复杂的母女关系。 |
| The two films, “Hi, Mom” and “Sister,” are part of a wave of movies made by female directors that are challenging the notion of what it takes to conquer China’s vaunted film market — now the world’s largest. And while each film is distinct, together they stand out for what they represent: a rejection of the one-dimensional female roles often seen in commercial Chinese movies, like the lovelorn maiden or the “flower vase,” a derogatory Chinese term for a pretty face. |
| 这两部电影《你好，李焕英》和《我的姐姐》是女性导演拍片浪潮的一部分，它正在挑战什么样的片子能征服中国电影市场的观念，中国现在有世界上最大的电影市场。虽然这两部影片的内容截然不同，但放在一起，它们突出地体现了它们所代表的东西：拒绝中国商业电影中常见的一维女性角色，比如失恋的少女或“花瓶”（“花瓶”是中文里对漂亮面孔的贬称）。 |
| “The new breed of women’s films are more subtle, nuanced, and realistic,” said Ying Zhu, a scholar of Chinese film and author of the forthcoming book “Hollywood in China: Behind the Scenes of the World’s Largest Market.” |
| “这些新型的女性电影更微妙、细致，也更现实，”研究中国电影的学者朱影说。她的新书《好莱坞在中国——世界最大市场的幕后》(Hollywood in China: Behind The Scenes of The World’s Largest Market)即将出版。 |
| By hewing closer to the experiences of women, the films have struck a chord in China, where feminist values have become more mainstream despite the government’s strict limits on activism and dissent. Women are still far outnumbered by men in directing commercial movies, but in the past three years, several of their films have unexpectedly seen runaway success. |
| 这些电影展现更贴近女性的经历，在中国引起了共鸣。虽然中国政府严格限制女权活动和异见，但女权主义价值观已变得更主流。虽然在商业电影导演的人数上，女性仍远不及男性，但在过去三年里，她们执导的几部电影获得了出人意料的巨大成功。 |
| Leading the pack is “Hi, Mom,” a comedic tear-jerker directed by Jia Ling that pulled in $840 million in domestic ticket sales, making it the top-grossing movie in China this year and the second-highest earning film ever in the country. |
| 位居前列的是催人泪下的喜剧片《你好，李焕英》，由贾玲执导，该片在国内获得了54亿元票房收入，使其成为中国今年票房收入最高的电影，也是中国历史上票房收入第二高的电影。 |
| In the movie, which was released in February, Ms. Jia stars as a woman whose mother is injured in a near-fatal accident. The woman travels back in time and becomes friends with her mother to try to make amends. |
| 这部电影于今年2月上映。贾玲在片中饰演的女子的母亲在一场差点致命的意外中受伤。这名女子穿越时间回到了过去，与年轻时的母亲成为朋友，以补偿母亲。 |
| The movie’s success propelled Ms. Jia, a well-known comedian and a first-time director, to be the world’s highest-grossing solo female filmmaker, surpassing Patty Jenkins of “Wonder Woman” fame. |
| 这部电影的成功让贾玲成为创下全球最高票房收入的独自执导的女导演，超过了以《神奇女侠》(Wonder Woman)成名的派蒂·杰金斯(Patty Jenkins)。贾玲是一位知名的喜剧演员，这是她第一次担任导演。 |
| For many moviegoers, the film’s portrait of an intimate mother-daughter bond has given them a renewed appreciation for the sacrifices their mothers made. Others enjoyed the nostalgic depiction of China in the 1980s, with its black-and-white televisions and lovers on bicycles. On social media, people posted photos of their mothers when they were younger, with a hashtag that was viewed over 180 million times. |
| 对许多常去看电影的人来说，这部影片描绘的亲密母女关系让人们重新理解了母亲做出的牺牲。另一些人则喜欢片中对1980年代中国的怀旧描绘，比如黑白电视和骑着自行车的恋人。人们在社交媒体上的一个话题标签下，上传了自己母亲年轻时的照片，这个话题标签的浏览量已超过1.8亿次。 |
| April Li, a civil servant in the southwestern Chinese city of Kunming, said she cried when she saw the movie and that it inspired her mother to make a trip to her ancestral home to pay respects at her own mother’s grave, Ms. Li said. |
| 中国西南城市昆明的公务员埃普丽尔·李(April Li)说，她看这部电影时哭了。李女士说，她母亲受这部电影的启发，回了趟老家，给自己的母亲上了坟。 |
| “At first we all thought it was going to be a comedy,” said Ms. Li, 27. “We didn’t think it would also be so heartwarming.” |
| “刚开始大家可能以为只是一个喜剧片，”27岁的李女士说。“就没有想到它那么温暖。” |
| The theme of family, explored from the perspective of a woman, also found resonance among Chinese audiences in the movie “Sister,” released this spring. |
| 今年春天上映的影片《我的姐姐》从女性角度探讨家庭主题，也在中国观众中引起了共鸣。 |
| Directed by Yin Ruoxin and written by You Xiaoying, the low-budget drama follows a young woman who faces a difficult choice after her parents suddenly die in a car accident: continue pursuing her ambitions of becoming a doctor or take care of her six-year-old brother. |
| 这部由殷若昕执导、游晓颖编剧的低成本电影讲述的是一名年轻女子的故事，她在父母突然死于车祸后面临着一个艰难选择：是继续追求当医生的梦想，还是抚养六岁的弟弟。 |
| “Sister” offered a somber, at times angry, meditation on the often unfair expectations imposed on women to put their families before themselves. It also pointedly depicted the consequences of China’s “one-child policy,” by showing how her parents, desperate for a son, had forced her to fake a disability so that they could get permission to have a second child. |
| 《我的姐姐》为强加给女性的将家庭置于自身之上的不公平期望提供了一种阴郁、有时甚至是愤怒的思考。影片通过展示为生儿子不惜一切的父母为拿到二胎准生证逼迫姐姐假装残疾的情节，尖锐地描绘了中国“独生子女政策”的后果。 |
| “I hope that through An Ran’s story, more girls can see that they should be free to choose their own career path and life direction,” Ms. Yin said in an interview with Xinhua, China’s state news agency. |
| “我希望通过‘安然’的故事，让更多女孩认识到她们的职业规划、人生方向，都应该由自己来选择，”殷若昕在接受中国官方通讯社新华社的采访时说。 |
| The film, which brought in over $133 million, triggered a heated debate among moviegoers about what they would have done had they been in the young woman’s shoes. |
| 这部票房收入已超过8.6亿元的电影在观众中引发了一场激烈的争论：如果他们处在这位年轻女性的位置，他们会怎么做。 |
| Li Yinhe, a prominent sociologist, praised it for showing how the traditional preference for boys over girls continues to manifest itself in China. |
| 著名社会学家李银河称赞影片展示了中国社会仍存在重男轻女的传统观念。 |
| “‘Sister’ is a wonderful and deeply moving film,” she wrote in a glowing review posted on her WeChat blog. “It is also a profound work that is firmly rooted in social reality and reflective of our changing social mores.” |
| “《我的姐姐》给我们讲了一个好故事，不但合情合理，而且充满悬念，引人入胜，”李银河在自己的微信公众号上发的一篇热情洋溢的影评中写道。“所揭示的社会伦理、社会问题的深刻程度才是这部影片不仅引人入胜而且引人深思的独到之处。” |
| Ms. Jia and Ms. Yin declined requests for interviews. |
| 贾玲和殷若昕拒绝了采访请求。 |
| Despite the recent success of the two films,the country’s film industry is far from reaching gender parity. |
| 虽然这两部电影最近获得了巨大成功，但中国电影业与实现性别平等还差得很远。 |
| Under Mao, state-subsidized studios controlled the filmmaking process. Women directors had no shortage of work, but had little say over what movies they could make or how to make them. |
| 在毛泽东时代，拿政府补贴的制片厂控制着电影制作的过程。女导演不缺工作，但她们对拍什么电影或如何拍片几乎没有发言权。 |
| The gradual opening of China’s film industry starting in the late 1980s did not help, as it became even more difficult for women directors to find commercial opportunities to tell their stories. Of China’s top 100 highest-grossing domestic films, only seven were directed by women, according to a review of box office data from Maoyan, a Chinese movie ticketing website. |
| 中国的电影业自1980年代末开始逐步开放后，并没有对女性导演有帮助，因为开放让她们找到讲述自己故事的商业机会变得更难。据中国电影票务网站猫眼统计的票房数据，中国票房收入最高的100部国产电影中，只有七部是女性导演的。 |
| The ruling Communist Party has also been tightening its grip on culture, and movies that touch on hot-button topics like L.G.B.T.Q.I. issues, surrogate births and the practice of egg freezing are now coming under growing scrutiny, people in the industry say. |
| 执政的共产党也在加强对文化的控制。业内人士说，触及LGBTQ、代孕和冷冻卵子等热点话题的电影现在正受到越来越多的审查。 |
| The censorship means that China has effectively shunned some of its top female filmmakers like Nanfu Wang, whose documentary, “One Child Nation,” chronicled the brutal consequences of China’s family planning policies, and Chloé Zhao, the Beijing-born filmmaker who in April won the Oscar for directing “Nomadland.” |
| 这种审查意味着，中国实际上回避了一些最好的女性电影导演，比如王男栿，她执导的纪录片《独生之国》记录了中国计划生育政策的残酷后果，还比如出生于北京的导演赵婷，今年4月，她凭借《无依之地》(Nomadland)赢得了奥斯卡奖。 |
| Still, the huge commercial success of “Hi, Mom” and “Sister” may be a turning point in how studio executives see women-centric narratives. |
| 尽管如此，《你好，李焕英》和《我的姐姐》的巨大商业成功，在电影公司高管如何看待以女性为中心的叙事片上也许是个转折点。 |
| “It’s a clear indication that audiences are tired of movies that rely on visual bombardment and sensory overload,” said Dong Wenjie, a Beijing-based producer. |
| “可以清晰地表明，观众已经厌倦了视觉轰炸或者是感官刺激的影片，”常驻北京的制片人董文洁说。 |
| Last year, Ms. Dong worked with several prominent Chinese women filmmakers and actresses to make “Hero,” an account of the coronavirus pandemic in China told through the experiences of three ordinary women. |
| 去年，董文洁与几位中国著名女电影制片人和女演员合作拍摄了影片《英雄》，通过三名普通女性的经历讲述了中国的新冠病毒大流行。 |
| The filmmakers included Li Shaohong, 65, one of China’s best-known women directors, who was among the first to embrace what she described in an interview as the “female perspective.” In “Blush” (1995), for example, she tells the story of the Chinese government’s campaign to “re-educate” prostitutes through the eyes of two women and a female narrator. |
| 参与制作者包括现年65岁的李少红，她是中国最知名的女导演之一，也是第一批以她在一次采访中所说的“女性视角”拍电影的人之一。例如，在1995年拍的《红粉》中，她通过两名女性和一名女性叙述者的视角，讲述了中国政府对妓女进行“再教育”的故事。 |
| “Our voices and our perspectives have been missing too often in the past,” Ms. Li said. “Now is the time for us to find the courage to speak up.” |
| “我们的声音和视角在过去我们的生活中都太缺失了，”李少红说。“现在是我们鼓起勇气说话的时候了。” |
| Zhao Wei, an actress-turned-filmmaker, is also optimistic, citing her success in raising funds for a mini-series that explored domestic violence, the pressure on women to get married, and other thorny issues. She had initially been told by investors that such a project would not sell. |
| 演员出身的导演赵薇也很乐观，她提到自己最近为一部探索家庭暴力、女性面临的婚嫁压力和其他棘手问题的迷你系列片筹款成功的例子。投资者最初曾告诉她，这种题材的项目不会有人出钱。 |
| The show was released on Tencent Video, a popular streaming platform, to rave reviews from viewers, many of whom said it spoke directly to the pressures they felt in their own lives. |
| 这个迷你系列片在人气很高的流媒体平台腾讯视频上发布后，获得了观众的好评，许多观众说，影片直接反映了她们在自己生活中感受到的压力。 |
| The next step for female filmmakers, Ms. Zhao said, will be opportunities to explore their full range of interests, such as with action, war or historical movies — genres that are typically seen as being in the realm of men. |
| 赵薇说，女性电影人的下一步将是探索她们所有感兴趣的机会，比如动作片、战争片或历史片——这些片型通常被认为是男性的领域。 |
| “Female filmmakers can talk about more than just women,” Ms. Zhao said. “All we need is just one woman to succeed to open those doors.” |
| “女性导演不但可以讲女性，也可以讲更大的故事，”赵薇说。“只要有一个女性导演成功了，（其他人）就会蜂拥而至。” |
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