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| A.O. Scott | A·O·斯科特 |
| The 10 Best Arguments for the Importance of Movies | 关于电影重要性的十佳论证 |
| This year, it felt to me as if every good movie was also an argument for why movies matter. There is a lot of anxiety, pandemic-related and otherwise, about what the future of the art form might look like. Will everything be streaming except a handful of I.P.-driven spectacles? Will streaming platforms (and their subscribers) be receptive to daring, difficult, obnoxious or esoteric work? Anyone who claims to know the answers is a fool. What I can tell you for sure is that these 10 movies, and the 11 that almost made the list, do what they can to resist the dishonesty, complacency and meanness currently rampant around the world. They reward your attention, engage your feelings and respect your intelligence. Every little bit helps. | 今年我有一种感觉，每一部好电影都是在证明为什么电影很重要。现在对这种艺术形式的未来存在着许多的焦虑，有的跟大流行有关，有的无关。会不会今后一切都是在流媒体上播放，只有少数IP驱动的大片例外呢？流媒体平台（及其订阅者）会不会接受那些大胆、艰涩、可憎或难懂的作品？傻子才会自称知道答案。不过我可以肯定地说，以下这10部电影，以及差一点就上榜的第11部，尽其所能抵制了如今肆虐于全世界的欺诈、自满和恶意。它们会回报你的关注，触及你的情感，尊重你的智力。无论多寡，这终归是对我们有益的。 |
| 1. ‘Summer of Soul’ (Questlove) | 1.《灵魂夏日》(Summer of Soul)，导演：奎斯特洛夫 |
| This documentary about a series of open-air concerts in Harlem in 1969, interweaving stunning performance footage with interviews with musicians and audience members, is a shot of pure joy. The lineup is a pantheon of Black genius, including Stevie Wonder, Sly Stone, the Staple Singers, Mahalia Jackson and many more. But the film is more than a time capsule: It’s a history lesson and an argument for why art matters — and what it can do — in times of conflict and anxiety. (Streaming on Hulu.) | 关于1969年哈莱姆区一系列露天音乐会的纪录片，将震撼的现场演出资料与音乐人和观众的采访交织在一起，成为一杯欢乐的烈酒。演出阵容包括了众多黑人天才，有史迪威·旺德、斯莱·斯通、斯泰普歌手、马哈利亚·杰克逊等等。但影片不止是一个时间胶囊：在一个充满冲突与焦虑的时代，它是一堂历史课，一次关于艺术为何重要——以及可以做些什么——的论证。（Hulu流媒体放映。） |
| 2. ‘Bad Luck Banging or Loony Porn’ (Radu Jude) | 2.《倒霉性爱还是狂人黄片》(Bad Luck Banging or Loony Porn)，导演：拉杜·裘德 |
| From its hard-core opening to its riotous conclusion, this category-defying Romanian film captures the desperate, angry, exhausted mood of the present almost too well. A Bucharest schoolteacher (the brilliant, fearless Katia Pascariu) finds her job endangered after a sex tape she made with her husband goes semiviral. Meanwhile, the Covid pandemic and simmering culture-war hostilities turn everyday life into a theater of grievance and anxiety. Holding everything together — barely — is the abrasive intellectualism of Jude’s direction and the earnest rage that fuels his mockery. (In theaters.) | 从硬核的开场到喧闹的结局，这部难以分类的罗马尼亚电影对当下绝望、愤怒、疲惫情绪的捕捉实在太过到位。一个布加勒斯特老师（由杰出、无畏的卡蒂亚·帕斯卡里乌饰演）发现，由于和丈夫的性爱录像成了个不大不小的新闻，她面临着失去工作的危险。与此同时，新冠疫情和焦灼的文化战争敌对气氛把日常生活变成了冤屈与焦虑的剧场。将这一切——勉强地——捏合在一起的，是裘德粗粝的理智主义导演手法，以及促使他发出阵阵嘲弄的怒火。（院线放映。） |
| 3. ‘The Power of the Dog’ (Jane Campion) | 3.《犬之力》(The Power of the Dog)，导演：简·坎皮恩 |
| There are a lot of talented, competent, interesting filmmakers working today. Then there is Jane Campion, who practices cinema on a whole different level. The craft in evidence in this grand, big-sky western — the images, the music, the counterpointed performances of Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons and Kodi Smit-McPhee — evoke the best traditions of old-style Hollywood storytelling. But there is nothing staid or conventional in the way Campion tackles Thomas Savage’s novel of jealousy, power and sexual intrigue. (Streaming on Netflix.) | 当代电影不乏有才华、有能力、有意思的电影人。然而简·坎皮恩完全是在另一个层面实践她的电影创作。这部宏大、辽阔的西部片彰显了她的技艺——画面、音乐、本尼迪克特·康伯巴奇、柯尔斯滕·邓斯特、杰西·普莱蒙和柯蒂·斯密特-麦菲形成鲜活对比的演出——让人想起了老派好莱坞叙事的经典传统。然而，在坎皮恩对托马斯·萨维奇这部关于嫉妒、权力和性吸引的小说所做的解读中，并不存在任何的古板或俗套。（Netflix流媒体放映。） |
| 4. ‘Petite Maman’ (Céline Sciamma) | 4.《小妈妈》(Petite Maman)，导演：瑟琳·席安玛 |
| The death of a grandmother, the grief of a parent, the acquisition of a new friend — these ordinary experiences, occurring over a few weeks in the life of an 8-year-old girl, provide the basic narrative structure of this spare, perfect film. Whether it’s best described as a modern-dress fairy tale, a psychological ghost story or a low-tech time travel fantasy is up to you. What’s certain is that the performances of Joséphine and Gabrielle Sanz, real-life twins playing possibly imaginary friends, have a clarity and purity that Sciamma (“Portrait of a Lady on Fire”) deploys for maximum emotional impact. (Coming to theaters.) | 祖母的去世、父母的悲痛、新结的友谊——这些平凡的经历，发生在一个八岁女孩几周的生活中，给这部简约、完美的影片提供了基本的叙事结构。它到底是一部时装童话、心理鬼故事还是低科技时光旅行幻想，由你自己定夺。然而可以确定的是，约瑟芬和加布里尔艾尔·桑兹——现实生活中的双胞胎——饰演的一对可能是想象出来的朋友，有一种清晰与纯洁，并在席安玛（《燃烧女子的肖像》的导演）的处理下产生了最大的情感冲击力。（即将进入院线放映。） |
| 5. ‘Bring Your Own Brigade’ (Lucy Walker) | 5.《带上你的队伍》(Bring Your Own Brigade)，导演：露西·沃克 |
| This harrowing documentary about California wildfires is also, almost by accident, an exploration of the country’s polarized, chaotic, self-defeating response to the Covid pandemic. The picture Walker paints is complicated, partly because that’s the way people are: stupid, generous, reckless and brave. The movie is hardly optimistic, but its open-mindedness, compassion and intellectual rigor provide a buffer against despair. (Paramount+) | 这部令人痛心的纪录片是关于加州野火的，但也几乎是很巧合地探索了美国对新冠疫情两极分化、混乱和弄巧成拙的应对方式。沃克所描绘的图景很复杂，部分原因是人类本就如此：既愚蠢又慷慨，既鲁莽又勇敢。这部电影很难称得上乐观，但它开明的态度、同情心和智力上的严谨性为人们提供了对抗绝望的缓冲。（派拉蒙+放映） |
| 6. ‘Bergman Island’ (Mia Hansen-Love) | 6.《伯格曼岛》(Bergman Island)，导演：米娅·汉森-洛夫 |
| In a year when rumors of the death of moviegoing spread along with all the other bad news, it was delightful to encounter this warm, wry, emotionally savvy exploration of movie love, moviemaking and movie-centered tourism. Two filmmakers travel to Faro, a Swedish island where Ingmar Bergman lived and worked, and discover either that movies are life, or that there’s more to life than movies. (For rent on most major platforms.) | 在这一年里，当关于院线观影已经消亡的传言与其他所有的坏消息一起传播时，遇到这部温暖、狡黠、情感敏锐的影片是令人愉悦的，它探索了对电影的爱、电影制作和围绕电影的旅游业。两位电影制作人前往英格玛·伯格曼生活和工作过的瑞典法罗群岛，发现电影就是生活，或者说，生活中还有比电影更重要的东西。（在大多数主要平台上可租赁观看）。 |
| 7. ‘Drive My Car’ (Ryusuke Hamaguchi) | 7.《驾驶我的车》(Drive My Car)，导演：滨口龙介 |
| A theater artist (Hidetoshi Nishijima), recently widowed, travels to Hiroshima to direct an experimental version of Chekhov’s “Uncle Vanya.” A young woman (Toko Miura), also stricken by loss, is hired as his driver. Out of this scenario — and out of Haruki Murakami’s novella — Hamaguchi builds an understated, multilayered meditation on the complexities of human connection. The spirit of Chekhov hovers in the background and is honored by the film’s unsentimental, compassionate regard for its characters. (In theaters.) | 新近丧偶的戏剧艺术家（西岛秀俊饰）前往广岛，执导一个实验版的契诃夫《万尼亚叔叔》。一个同样遭受丧亲之痛的年轻女人（三浦透子饰）被雇为他的司机。在这样的情景下，以村上春树的中篇小说为基础，滨口龙介对人类关系的复杂性进行了一种低调的、多层次的思考。契诃夫的精神在影片背景中徘徊，并通过影片对人物克制而充满同情的关怀得到体现。（院线放映）。 |
| 8. ‘Memoria’ (Apichatpong Weerasethakul) | 8.《记忆》(Memoria)，导演：阿彼察邦·韦拉斯哈古 |
| Weerasethakul’s movies defy summary or easy categorization. To describe them as dreamlike is incomplete, since you never know who is doing the dreaming. In this case, it might be Jessica (Tilda Swinton), a Scottish expatriate living in Colombia. Or it might be alien visitors, the filmmaker, the Earth or time itself. What is certain is that this film sharpens the senses and activates emotions that are no less powerful for being impossible to name. (Coming to theaters.) | 韦拉斯哈古的电影无法简单概括或归类。称它们如梦似幻是不全面的，因为你永远不知道是谁在做梦。在这部电影中，做梦的人可能是移居哥伦比亚的苏格兰人杰西卡（蒂尔达·斯温顿饰），也有可能是外星访客、电影制作人、地球或时间本身。可以肯定的是，这部电影令人的感官更敏锐，激发情感，而这些强烈的情感并不会因其无以名状而减损。（即将进入院线放映。） |
| 9. ‘West Side Story’ (Steven Spielberg) | 9.《西区故事》(West Side Story)，导演：史蒂文·斯皮尔伯格 |
| Somehow, Steven Spielberg and Tony Kushner — and an energetic young cast of Jets and Sharks — pulled off a surprising cinematic coup. Respecting the artistry and good intentions of the original stage musical, they turned it into something urgent, modern and exciting. There’s a lot to unpack in the movie’s gestures of reverence and revisionism, but mostly there are big emotions, memorable songs and an unabashed faith that sincerity will always be stronger than cynicism. (Coming to theaters.) | 史蒂文·斯皮尔伯格和托尼·库什纳——以及充满活力的、扮演喷射机帮和鲨鱼帮成员的年轻演员们——设法完成了一次惊人的电影“政变”。他们尊重原始舞台音乐剧的艺术性和良好意图，并将其转化为急促、现代和令人兴奋的作品。在电影尊重原版和对其修正的姿态中，有很多可以解读的，但最主要的是强烈的情感、难忘的歌曲以及一种毫不掩饰的信念，即真诚永远比玩世不恭更强大。（即将进入院线放映。） |
| 10. ‘The Velvet Underground’ (Todd Haynes) | 10.《地下丝绒》(The Velvet Underground)，导演：托德·海因斯 |
| Like “Summer of Soul,” this documentary revisits the music of the 1960s in a spirit that is more historical than nostalgic. Rather than assemble present-day musicians to pay tribute to their forebears, Haynes concentrates on the Velvets in their moment and on the artistic scene that spawned them. In particular, he focuses on their connections to the experimental cinema that flourished in New York, work that inspires his own visceral, cerebral, visually dense style of storytelling. (Streaming on Apple TV+.) | 与《灵魂夏日》一样，这部纪录片以一种注重历史、胜于怀旧的精神重新审视了1960年代的音乐。海因斯没有召集现今的音乐人来向前辈致敬，而是集中精力研究地下丝绒乐队所在的时代以及孕育他们的艺术场景。他尤其专注于他们与纽约蓬勃发展的实验电影的联系，这些实验电影作品激发了他自己真诚、聪明、视觉稠密的叙事风格。（苹果电视+放映）。 |
| Also … | 以及…… |
| “Annette” (Leos Carax), “The Disciple” (Chaitanya Tamhane), “Flee” (Jonas Poher Rasmussen), “The Green Knight” (David Lowery), “The Hand of God” (Paolo Sorrentino), “King Richard” (Reinaldo Marcus Green), “Mogul Mowgli” (Bassam Tariq), “Parallel Mothers” (Pedro Almodóvar), “Passing” (Rebecca Hall), “El Planeta” (Amalia Ulman), “The Souvenir Part II” (Joanna Hogg), “Spencer” (Pablo Larraín), “The Tragedy of Macbeth” (Joel Coen). | 《安妮特》(Annette)，导演：莱奥·卡拉克斯；《学徒》(The Disciple)，导演：柴塔尼亚·塔姆哈尼；《逃亡》(Flee),导演：乔纳斯·波赫尔·拉斯穆森；《绿衣骑士》(The Green Knight)，导演：大卫·罗利；《上帝之手》(The Hand of God)，导演：保罗·索伦蒂诺；《国王理查德》(King Richard)，导演：雷纳尔多·马库斯·格林；《穆戈尔·毛戈利》(Mogul Mowgli)，导演：巴萨姆·塔里克；《平行母亲》(Parallel Mothers)，导演：佩德罗·阿莫多瓦；《冒名之肤》(Passing)，导演：丽贝卡·豪尔；《平面图》(El Planeta)，导演：阿马利娅·乌尔曼；《纪念品：第二部分》(The Souvenir Part II)，导演：乔安娜·霍格；《斯宾塞》(Spencer)，导演：帕布罗·拉雷恩；《麦克白的悲剧》(The Tragedy of Macbeth)，导演：乔尔·科恩。 |
| MANOHLA DARGIS | 曼诺拉·达吉斯 |
| The Best Film Was One in a Theater | 最好的电影是影院里的电影 |
| In July, I watched one of the most mediocre movies that I’ve seen this year — and it was glorious. After more than 16 months of streaming at home, I went to a theater to watch Matt Damon sing the white-guy blues in “Stillwater.” The movie was poky and trite and irritating, and I reviewed it accordingly. And while I regretted it wasn’t better, I was still grateful because it sent me back to theaters, big screens and other moviegoers. | 7月，我看了今年看过的最平庸的电影之一，但它却很精彩。在家看了16个多月的流媒体之后，我去电影院看马特·达蒙在《静水城》(Stillwater)里唱白人布鲁斯。这部电影沉闷、陈腐、令人恼火，我也对它做出了相应的评论。虽然我对它没有更好的表现感到遗憾，但我仍然心存感激，因为它让我回到了电影院、大银幕和其他电影观众身边。 |
| Those other people admittedly did give me pause. They were masked, well, most were, kind of, but could I be safe and feel at ease with these people for two or so hours? I was vaxed and masked but also still navigating being back in the world. But the room was great, the screen huge, and I decided that I could — though first I had to tell a guy near me that, yes, he did need to wear the mask he’d parked on his chin. He put it on. I settled in, back in the place that makes me supremely happy: I was at the movies. | 其他那些人确实让我犹豫了一下。他们都戴着口罩，好吧，大多数都戴着口罩，算是吧。但是我能够安全地和这些人在一起待两个多小时，并且感到放心吗？我打过疫苗，也戴着口罩，但我仍在适应重回现实世界。不过，放映厅很棒，屏幕很大，我决定我能做到——尽管首先我得告诉我身边的一个家伙，是的，他真的得戴上他放在下巴上的口罩。他照做了。我安顿了下来，回到那个让我极度快乐的地方：我在电影院里。 |
| Since then, I have watched many more new releases in person, including at two festivals where I gorged like a famished person (so many thanks to both the Toronto International Film Festival and the New York Film Festival). I had spent the first part of the year on book leave, and while I’d streamed plenty of new and old films then (hello, Marie Dressler!), I missed going out (anywhere). I missed really, really big bright images and I missed the rituals, including the quick search for the most perfect seat and the anticipatory wait for the movie to begin, for someone to hit the lights and start the show. | 从那以后，在影院，包括在两个电影节上，我又观看了更多的新片，像一个饥肠辘辘的人一样狼吞虎咽（在此感谢多伦多国际电影节和纽约电影节）。为了写书，这一年的前半部分我都在休假，虽然那时我看了很多新老电影（你好，玛丽·杜丝勒！)，但我怀念外出（去哪都行）。我想念巨大而明亮的画面，我想念看电影的各种仪式，包括快速寻找最完美的座位，以及满怀期待地等待电影开始，等待有人熄灭灯光，开始放映。 |
| Movie critics tend to write about movies as discrete entities. Even when writing about franchise copies of franchise copies, we often stick to the object. Although we sometimes share how a movie makes us feel (happy, sad), we rarely write about the true depth of our experiences as we watched these movies — how it felt as the images flowed off the screen and into our bodies and memories — and how this too affected us. There are a lot of reasons for this, including reviewing conventions, which tend to measure movies by certain, traditionally prescribed, often literary and commercial values: Was it a good story, did it say something, is it worth leaving the house for, worth spending money on? | 影评人倾向于把电影描述成独立的实体。即使是在写关于某部IP作品的改编之作时，我们也往往会关注于对象本身。虽然我们有时会分享一部电影给我们带来的感受（快乐、悲伤），但我们很少写到我们观影时真正的深度体验——画面如何从屏幕上流淌而下，进入我们的身体和记忆——以及这如何影响了我们。这其中有很多原因，包括影评界的惯例，它们倾向于通过某些传统的、通常是文学和商业的价值来衡量电影：它是一个好故事吗？它表达了什么吗？它值得你出门去看吗？它值得你花钱买票吗？ |
| It’s a given that money is always part of the equation, as much of the discussion around the future of moviegoing underscores. Most of the chatter about moviegoing these days often devolves into journalists and industry types parroting the logic of capitalism, i.e., whatever industry power dictates. Netflix and other big streamers have had a huge impact, no question, and we can chat about what it all means in a few years. But whatever the rationalization, the reasons there’s so much intense focus on Netflix and Disney is their monopolistic grip not simply on the entertainment industry but also on the hive mind of the mainstream media. But there are other considerations, as well. | 众所周知，金钱永远是电影这个游戏的一部分，很多围绕观影未来的讨论都强调了这一点。如今，大多数关于观影的讨论往往演变成记者和行业人士鹦鹉学舌地重复资本主义逻辑，也就是说，产业的力量支配一切。毫无疑问，Netflix和其他大型流媒体公司产生了巨大的影响，这一切意味着什么，我们可以讨论好几年。但是，不管是什么理由，人们如此热切地关注Netflix和迪士尼，是因为他们不仅垄断了娱乐业，还垄断了主流媒体的蜂巢式思维。不过，还有其他考虑因素。 |
| So, yes, more people will likely watch “The Power of the Dog,” the latest from Jane Campion, than any other film in her decades-long career because it’s on Netflix. But what matters is the movie. And you should watch it whether at home or, if you can, in a theater. It looks beautiful no matter the size of the screen. But I’m grateful that I’ve seen it several times projected in theaters. For starters, I could focus on it rather than the distractions of my home, but mostly I could more fully experience the monumentality of its images, could feel on a profound, visceral level both the claustrophobia of its shadowy interiors and the liberating, heart-clutching boundlessness of its open landscapes. | 所以，是的，观看简·坎皮恩《犬之力》的人可能比观看她几十年职业生涯中其他电影的人都多，就因为它在Netflix上播出。但重要的还是这部电影。这部电影值得一看，不论你在家里看，还是，如果可以的话，在电影院看。无论屏幕大小，它看起来都很美。但我很庆幸我在电影院看过好几次本片的放映。首先，我可以专注于它，而不受家里其他事情的干扰，但更重要的是，我可以更充分地体验其影像的隆重感，可以在一个深刻的、本能的层面上感受它在阴暗内景中的幽闭恐惧感，以及它辽阔风景里那种自由、扣人心弦的广袤之感。 |
| Like all the movies I love, “The Power of the Dog” got under my skin. I watched it, fell into it, felt it. And like all the movies I care most about, it is far more than the sum of its finely shaped story parts. I admire its narrative ebb and flow, but the movie’s meaning extends beyond its chapter breaks and dialogue. In Campion’s aerial shots of an arid, lonely land and in the anguished close-ups — in backlighted bristles of horsehair and in the rhythmic rocking of a strand of braided leather on a man’s body — she sets loose a cascade of associations. You see Benedict Cumberbatch, who plays its tormented villain, and in his strut you also see John Wayne, Gary Cooper, Clint Eastwood. You see the sweep of the western genre, the men and women you know, the world you live in. | 就像所有我喜欢的所有电影一样，《犬之力》也让我不安。我观看它，陷入它，感受它。就像所有我最在意的电影一样，它远远超过了精心塑造的故事部分的总和。我欣赏它的叙事起伏，但这部电影的意义超越了它的章节和对话。在坎皮恩对干旱、孤独土地的航拍中，在痛苦的特写镜头中——在背光下的马鬃毛中，在男人身上一束编结的皮革有节奏的摇摆中——她释放出一连串的联想。你会看到本尼迪克特·康伯巴奇饰演的备受折磨的反派，在他的昂首阔步中，你还会看到约翰·韦恩、加里·库珀、克林特·伊斯特伍德的身影。你会看到西部片的影响，还有你认识的男男女女，你生活的世界。 |
| 1. ‘Drive My Car’ (Ryusuke Hamaguchi) | 1.《驾驶我的车》，导演：滨口龙介 |
| A masterpiece about life and death and art from one of the most exhilarating directors to hit the international film scene in a long while, “Drive My Car” draws from theater and literature — a splash of “Waiting for Godot” but mostly “Uncle Vanya” and the Murakami short story that gives the movie its title — to create a work of pure cinema. (In theaters.) | 这是一部关于生命、死亡和艺术的杰作，本片的导演是很长一段时间以来最令人兴奋、冲击国际影坛的导演之一，《驾驶我的车》从戏剧和文学中汲取营养——有《等待戈多》的影子，但主要受到《万尼亚舅舅》和村上春树同名短篇小说的影响——创造出一部纯粹的电影作品。（院线上映） |
| 2. ‘The Power of the Dog’ (Jane Campion) | 2.《犬之力》，导演：简·坎皮恩 |
| Much has rightly been made of Benedict Cumberbatch’s powerful performance as a malignant force named Phil in Campion’s latest. Much more should be said about how delicately and beautifully Kirsten Dunst, as Rose, holds the movie’s moral center with a gutting performance that shows you how brutally optimism can both die and be reborn. (Streaming on Netflix.) | 本尼迪克特·康伯巴奇在坎皮恩的新片中饰演恶势力人物菲尔，他的出色表现得到了恰如其分的好评。同样值得称赞的是，克尔斯滕·邓斯特饰演的萝丝是如何以一场扣人心弦的表演，微妙而优美地抓住了影片的道德中心，向你展示了乐观主义可以如此残酷地死亡和重生。（Netflix流媒体放映。） |
| 3. ‘The Velvet Underground’ (Todd Haynes) | 3.《地下丝绒》，导演：托德·海因斯 |
| Everything comes together in Todd Haynes’s superb testament to a lost world that helped make our own: the music and art, the drugs and ideas, Lou Reed and John Cale, Andy Warhol and Jonas Mekas, the beauty and ugliness, the affordable New York housing and the artistic freedom that cheap rents allowed, the droning and strobing and darkening shadows that swallowed people whole. It’s all here. Watch it — play it — loud. (Streaming on Apple TV+.) | 托德·海因斯对一个曾经塑造过我们的失落世界做了精彩的见证，在这里，一切都汇集在一起：音乐和艺术，毒品和思想，卢·里德和约翰·凯尔，安迪·沃霍尔和乔纳斯·梅卡斯，美丽和丑陋，纽约的经济适用房和廉价租金所带来的艺术自由，嗡鸣、频闪灯与黯淡的光影将人们吞噬。一切都在这里。观看它——播放它——开大声。（苹果电视+放映） |
| 4. ‘Summer of Soul’ (Questlove) | 4.《灵魂夏日》导演：奎斯特洛夫 |
| There’s much to love in Questlove’s documentary about a New York concert that took place in the summer of 1969, most obviously the music that takes you higher. But consider too the formal design and rigor, and how the movie contracts and expands in time with the onstage call and response, how Questlove narrows in on a moment of beauty — a soaring note, a sliding foot, a beaming face — only to gracefully expand your horizons as he dialogues with the past, the present and the possible future. (Streaming on Hulu.) | 奎斯特洛夫这部纪录片是关于1969年夏天纽约的一场音乐会，其中有很多值得喜爱的地方，最明显的是让人上头的音乐。但也要注意到本片形式上的设计和严谨，以及电影如何随着舞台上的呼唤和回应而收缩和扩展，奎斯特洛夫如何聚焦于一个美丽的时刻——一个飙升的音符、一只滑动的脚、一张兴高采烈的脸——只为了在他与过去、现在和可能的未来对话时优雅地扩大你的视野。(在Hulu上放映。) |
| 5. ‘Passing’ (Rebecca Hall) | 5.《冒名之肤》导演：丽贝卡·豪尔 |
| Set in the 1920s, Hall’s exquisite heart-wrencher centers on two African American women, friends from childhood, who can and do present as white. One (Tessa Thompson’s Irene) will pass for convenience, as when she enters a racially restricted hotel, while the other (Ruth Negga’s Clare) lives as white. Separately and together, with yearning and dueling looks, they negotiate the color line, which W.E.B. Du Bois called “the problem of the 20th century” and that still stubbornly defines and divides this country. (Streaming on Netflix.) | 豪尔这部感人肺腑的电影以1920年代为背景，讲述了两个非裔美国女性的故事。她们是儿时的朋友，能够也的确在生活中以白人身份示人。其中一个（泰莎·汤普森饰演的艾琳）需要进入一家有种族限制的酒店，是为了方便起见才冒充的；而另一个（露丝·内加饰演的克莱尔）则以白人身份生活。她们时而分开、时而一起，带着渴望和对抗的表情与肤色界线周旋。W·E·B·杜波依称肤色界限为“20世纪的问题”，但它仍然顽固地定义和分裂着这个国家。（Netflix流媒体放映。） |
| 6. ‘Azor’ (Andreas Fontana) | 6.《阿索尔》(Azor)，导演：安德利亚斯·丰塔纳 |
| With chilled detachment and meticulous control, this shocking drama tracks a Swiss banker and his wife on a seemingly routine business trip through Argentina in 1980. As they travel about, the juxtaposition between the bourgeois homes they visit and the ever-present military creates an increasingly unnerving tension, culminating in a shattering finale. Here, every polite smile and bland pleasantry is in service to a world of evil. (Streaming on Mubi.) | 这部令人毛骨悚然的影片以冷峻的态度和细致的控制，描述了1980年一位瑞士银行家和他的妻子在阿根廷一次看似普通的商务旅行。在旅行途中，影片呈现他们所访问的资产阶级家庭和无处不在的军队，两者创造了一种越来越令人不安的紧张气氛，并在令人震惊的结局中达到顶峰。在这里，每一个礼貌的微笑和每一次木然的寒暄都是在为一个邪恶的世界服务。（在Mubi上放映。） |
| 7. ‘The Card Counter’ (Paul Schrader) | 7.《算牌人》(The Card Counter)，导演：保罗·施拉德 |
| For decades, Schrader has been telling his favorite story — that of a man alone in a room, alone in his head — to greater and lesser if always interesting effect. Now, with Oscar Isaac, Tiffany Haddish and Willem Dafoe, Schrader tells that tale again, getting into your head with feeling, some scattershot politics, horrific violence and auteurist confidence. (Available on most major platforms) | 几十年来，施拉德一直在讲述他最心爱的故事——一个男人独自在房间里，独自在他的脑海里——以此制造大大小小但总是有趣的效果。这一次，与奥斯卡·艾萨克、蒂芙尼·哈迪什和威廉·达福一起，施拉德再次讲述了这个故事，用情感、零散的政治、可怕的暴力和作者电影的自信进入你的脑海。（可在大多数主要平台上观看） |
| 8. ‘The Disciple’ (Chaitanya Tamhane) | 8.《学徒》，导演：柴塔尼亚·塔姆哈尼 |
| Every so often, the title character, a Hindustani classical singer (Aditya Modak), rides through the dark night, the voice of a musical guru filling the air and stirring your soul. Our young singer yearns for greatness, but as the years pass and practice never quite makes perfect, the divide between aspiration and reality grows impossibly wider. In a year of wonderful soundtracks, this is the one that soars highest. (Streaming on Netflix.) | 每隔一段时间，片名中的“学徒”——一个印度斯坦尼古典歌手（阿迪亚·莫达克饰），就会在黑夜中驰骋，一位音乐大师的声音充斥在空气中，搅动着你的灵魂。我们的年轻歌手渴望伟大，但随着岁月的流逝，熟却未必能生巧，愿望和现实之间的鸿沟越来越大。在这一年的精彩电影配乐中，这部作品最动人心魄。（在Netflix上放映）。 |
| 9. ‘Wheel of Fortune and Fantasy’ (Ryusuke Hamaguchi) | 9.《偶然与想象》(Wheel of Fortune and Fantasy)，导演：滨口龙介 |
| This movie, the other of Hamaguchi’s to receive an American release this year, is split into three intricate stories that turn on chance and were, he has said, inspired by Eric Rohmer. Not all of the parts work equally well, but all have moments of beauty and grace along with amazing, complex rivers of words. By the time a character rests a hand on her heart in a rush of feeling, you may find yourself doing the same. (In theaters) | 这是滨口龙介今年在美国上映的另一部电影，它由三个错综复杂、关于偶然的故事组成，据滨口龙介说，他的灵感来自埃里克·侯麦。并不是所有的部分效果都一样好，但它们当中都有美丽和优雅的时刻，以及精彩而复杂的台词对话。当片中一个角色激动地将手放在自己胸口时，你可能会发现自己也在做同样的事。（院线上映） |
| 10. ‘Spencer’ (Pablo Larraín) | 10.《斯宾塞》(Spencer)，导演：帕布罗·拉雷恩 |
| Larraín’s atmospherically perfect (and creepy) drama is at once a blistering takedown of the British monarchy, a blazing psychological portrait and a queasily funny Gothic horror freak-out. If you’re still chuckling and sometimes weeping over that soap opera called “The Crown,” this may wipe off your smile — or just make you roar with laughter. (Available on most major platforms.) | 拉雷恩这部剧情片有着完美的氛围，但又令人毛骨悚然，它既是对英国君主制的猛烈抨击，又是一幅炽热的心理描写，更是有趣而诡异的哥特式惊悚电影。如果你还在因为肥皂剧《王冠》(The Crown)而时而发笑、时而哭泣，这部电影可能会抹去你脸上的微笑——或者干脆让你放声大笑。（可在大多数主要平台观看） |
| Also! | 还有！ |
| “Bring Your Own Brigade” (a smart, cleareyed, solution-oriented documentary about the climate crisis that won’t leave you curled up in a ball sobbing); “Dune” (yeah, I know, but I dug this immersive big-screen spectacle, the sort Hollywood rarely produces today); “The Electrical Life of Louis Wain” (part of this year’s Benedict Cumberbatch wave and a must-see for animal lovers or, really, anyone with a beating heart); “Faya Dayi” (a gorgeous dream to slip into); “The First Wave” (a moving, intelligent, deeply human documentary on the pandemic); “In the Same Breath” (a tough, compassionate look at the pandemic via China); “Licorice Pizza” (especially the truck sequence — I could watch two hours of that amazingly directed, staged and choreographed camera-and-wheel work); “Prayers for the Stolen” (stirring and upsetting); “Preparations to Be Together for an Unknown Period of Time” (a gorgeous labyrinth); “Stillwater” (eh, it isn’t good but it brought me back into theaters); “The Truffle Hunters” (a touching lament for rapidly disappearing communities and traditions); “The Woman Who Ran” (elegant, wry, touching cinematic serialism). | 《带上你的队伍》：一部关于气候危机的纪录片，聪明、清晰、以解决问题为导向，不会让你蜷缩起来里哭泣；《沙丘》(Dune)：我知道你想说什么，但我喜欢这种身临其境的大屏幕奇观，这在今天的好莱坞很少见了；《路易斯·韦恩的激情人生》(The Electrical Life of Louis Wain)：这是今年本尼迪克特·康伯巴奇热的一部分，也是动物爱好者的必看之作，其实任何心脏还在跳动的人都应该看看；《卡塔叶时光》(Faya Dayi)：可以沉醉其中的华丽梦境；《第一波》(The First Wave)：一部关于大流行的纪录片，感人、睿智、充满人性；《同呼吸》(In the Same Breath)：从中国视角对大流行进行艰难而富有同情心的观察；《甘草比萨》(Licorice Pizza)：特别是片中卡车的镜头——那些精彩拍摄、布置和设计的摄像机与车轮的互动，我可以看上两个小时；《火之夜》(Prayers for the Stolen)：搅动人心，令人不安；《未知时间的爱》(Preparations to Be Together for an Unknown Period of Time)：一个华丽的迷宫；《静水城》：呃，它并不好，但是它把我带回了电影院；《松露猎人》(The Truffle Hunters)：对迅速消失的社区和传统的感人哀叹；《逃走的女人》(The Woman Who Ran)：优雅、诙谐、感人的电影序列主义。 |
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