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| TOKYO — The last time a Japanese entry won the Oscar for best international film 13 years ago, it was something of an upset, surprising the forecasters who had barely heard of “Departures,” Yojiro Takita’s story about an accidental undertaker, before the ceremony. | 东京——日本电影上一次获得奥斯卡最佳国际影片奖是13年前泷田洋二郎的《入殓师》，该片讲述了一个因意外从事殡葬行业的男子的故事。当年这部影片爆冷获奖，让那些之前几乎没有听说过它的预测者们惊讶不已。 |
| Japanese cinema, after all, had long since faded from its mid-20th century glory, when critics and other filmmakers from around the globe celebrated directors like Akira Kurosawa, Kenji Mizoguchi and Yasujiro Ozu as giants of world cinema. | 毕竟，日本电影早已不复20世纪中期的辉煌，当时全球的影评人和其他电影人都把黑泽明、沟口健二和小津安二郎视为全球电影界的巨人。 |
| This year’s winner, “Drive My Car,” Ryusuke Hamaguchi’s quiet, devastating meditation on grief and art and human connection, was the overwhelming favorite in the international category, and was also nominated for best adapted screenplay, best director and best picture. | 今年的获奖影片是滨口龙介的《驾驶我的车》，这部安静而悲哀的影片是对悲伤、艺术和人类联系的思考，在国际类影片中获得了压倒性的人气，还获得了最佳改编剧本、最佳导演和最佳影片的提名。 |
| Mr. Hamaguchi’s Oscar win is something of a capstone to a slow-burn return of Japanese filmmakers to international acclaim. Three years ago, Hirokazu Kore-eda’s “Shoplifters” was also nominated in the international category at the Academy Awards after winning the Palme d’Or at the Cannes Film Festival, and Kiyoshi Kurosawa won best director at the Venice Film Festival in 2020 for “Wife of a Spy.” | 滨口龙介的奥斯卡奖可以说标志着日本电影人缓慢回归国际舞台的高潮。三年前，是枝裕和的《小偷家族》在戛纳电影节上获得金棕榈奖，并获得奥斯卡金像奖国际影片奖提名。2020年，黑泽清凭借《间谍之妻》获得威尼斯电影节最佳导演奖。 |
| Yet in some ways the international success of “Drive My Car” derives from its transcendence of the constraints of an insular domestic film industry where most movies never make it off Japan’s shores. | 然而，在某种程度上，《驾驶我的车》在国际上的成功源于它超越了日本国内电影产业的局限，在这个封闭的行业里，大多数电影只能在日本本土上映。 |
| Mr. Hamaguchi’s movie, based on short stories by Haruki Murakami, portrays “a Japan that is easy to accept and understand for foreigners,” said Tamaki Tsuda, a television producer and former film critic in Tokyo. The content of the film is by definition international: The main character directs a theater production of Chekhov’s “Uncle Vanya” featuring actors from multiple countries speaking different languages, including Korean sign language. | 滨口龙介的这部电影根据村上春树的短篇小说改编，描绘了“一个容易被外国人接受和理解的日本”，东京的电视制片人、前影评人津田玉木（音）说。这部电影的内容显然是国际性的：主人公在执导契诃夫《万尼亚叔叔》的话剧演出，剧目中的演员来自多个国家，说不同语言，包括韩国手语。 |
| It “touches upon feelings that everyone holds but rarely says,” Ms. Tsuda said. “It’s not a movie where you have to understand Japan to really like it and understand it.” | 该片“触及了每个人都有但很少说出来的感情，”津田说。“这不是一部你必须了解日本才能真正喜欢和理解的电影。” |
| Mr. Hamaguchi, in a backstage interview after his Oscar win, said he thought that the movie’s themes translated well across borders. “I think this story about loss, and how to live on after loss, resonated with a lot of people,” he said through an interpreter. | 滨口获奖后在后台采访时说，他认为这部电影的主题很容易跨越国界。“我觉得这个关于失去，以及如何在失去后继续生活的故事，引起了很多人的共鸣，”他通过翻译说。 |
| The movie, which presented a cosmopolitan Japan and portrayed characters living in social isolation, may also have echoed current Western impressions of Japanese society. | 这部电影展现了一个国际化的日本，刻画了生活在社会孤立中的人物，可能也呼应了当今西方对日本社会的印象。 |
| “We are looking at what vision of Japanese-ness that the broader international culture has of Japan at the moment,” said Jennifer Coates, a senior lecturer in Japanese studies at Sheffield University in Britain. With news media portrayals of a loneliness epidemic or the phenomenon of extreme recluses known as “hikikomori,” the kinds of films that have touched critics and audiences outside Japan feature “a detached style” in “films about quiet trauma,” Ms. Coates said. | “我们正在研究目前更广泛的国际文化对日本的特性有什么样的看法，”英国谢菲尔德大学日本研究高级讲师珍妮弗·科茨说。她表示，随着新闻媒体开始描述日本的孤独流行病或被称为“家里蹲”(hikikomori)的极端隐居者现象，那些能够打动日本以外的影评人和观众的电影往往是“关于安静创伤的电影”，会表现出“一种情感克制的风格”。 |
| Still, unlike “Parasite,” the South Korean thriller about class struggle directed by Bong Joon Ho that made Oscar history as the first film not in the English language to win the Academy Award for best picture in 2020, “Drive My Car” does not deal with problems in Japanese society head on. Its social message is perhaps quieter, nudging Japan away from an inward focus in a country where borders are still closed to international tourists and immigration is still something of a touchy subject. | 奉俊昊执导的关于阶级斗争的韩国惊悚片《寄生虫》创造了奥斯卡历史，在2020年成为第一部获得奥斯卡最佳影片的非英语电影，与它不同的是，《驾驶我的车》并未直面日本社会的问题。它传达的社会信息或许更安静，在这个边境仍对国际游客关闭、移民仍是一个敏感话题的国家，电影远离了对日本内部的关注。 |
| The movie has not been a particular box office success in Japan, where it has taken in only 889 million yen (just over $7 million) in ticket sales since its release in August, with most of its viewers in Japan coming only after its Oscar nomination. “The foreign award nominations are what got Japanese off their sofas to go to the theaters,” Ms. Tsuda said. | 这部电影在日本的票房并不是特别成功，自8月上映以来，票房仅为8.89亿日元（略高于700万美元），大部分日本观众都是在它获得奥斯卡提名后才去看的。“是外国奖项的提名让日本人从沙发上起来，走进了影院，”津田说。 |
| Its lackluster domestic performance is notable in a country where homegrown movies have been outselling American blockbusters for the last 14 years. | 在过去14年里，日本本土电影的票房一直超过美国大片，因此该片在国内的惨淡表现值得注意。 |
| Mr. Hamaguchi did not make his movie within Japan’s mainstream studio system, where financing comes from a nexus of film producers, advertising agencies, television networks and even cosmetics companies, a system that often deprives directors of artistic independence. Instead, he sought independent funding from small production companies with little marketing muscle for the domestic market. | 滨口龙介的电影并不是在日本主流电影公司体系内拍摄的。该体系的资金来自电影制片人、广告公司、电视网络甚至化妆品公司的联合体，这往往剥夺了导演的艺术独立性。相反，他从国内市场营销力量不强的小型制作公司寻求独立资金。 |
| “It’s possible to argue that ‘Drive My Car’ is actually an argument against the Japanese film industry,” said Aaron Gerow, a professor of East Asian literature and film at Yale who specializes in Japanese cinema. “There might be some people who say ‘Wow, it won the Oscar and the Japanese film industry is going to benefit from this,’ but there is an argument for saying, No it won’t, because this is a film that is in some ways opposed to the Japanese film industry.” | “可以说，《驾驶我的车》实际上是在反对日本电影业，”耶鲁大学东亚文学和电影教授、专门研究日本电影的亚伦·格罗说。“可能有人会说，‘哇，这部电影获得了奥斯卡奖，日本电影行业将从中受益。’但也有人会说，不，不会，因为这部电影在某些方面是反对日本电影行业的。” |
| Japanese moviegoers spent about 162 billion yen ($1.3 billion) in theaters last year, with nearly 80 percent of those tickets sold for movies made in Japan. Yet many of the domestically produced films have little chance of finding an international audience, film scholars say, in part because they are not of very high quality. | 去年，日本观众大约花费了1620亿日元（约13亿美元）去影院观影，其中近80%的票房贡献给了日本本土电影。然而，电影学者说，许多日本国产电影几乎没有机会获得外国观众，部分原因是它们的质量不是很高。 |
| “A lot of film and television production in Japan is hampered by very mediocre acting,” said Kerim Yasar, an assistant professor of East Asian languages and cultures at the University of Southern California. Many movies cast so-called idols who appear on television variety shows, have little theatrical training, and are more akin to social media “influencers” than serious actors. | “日本的很多电影和电视制作都因非常平庸的演技而受到阻碍，”南加州大学东亚语言和文化助理教授克里姆·亚萨尔说。许多电影选择了电视综艺节目中制造的所谓偶像，他们几乎没有接受过戏剧训练，更像社交媒体上的“网红”，而不是真正的演员。 |
| In Japan, reception to Mr. Hamaguchi’s win was tepid. Hirokazu Matsuno, chief cabinet secretary to Prime Minister Fumio Kishida, offered congratulations in a daily briefing for reporters. But Kenji Komine, a film and television correspondent for the Asahi Shimbun, one of Japan’s largest newspapers, described the award for “Drive My Car” as a “very embarrassing situation” because the film had not been backed by mainstream studios and received so little funding. | 在日本，人们对滨口龙介的获奖反应冷淡。日本首相岸田文雄的内阁官房长官松野博一在为记者举行的每日简报会上对此表示祝贺。但日本最大的报纸之一《朝日新闻》的影视记者小峰健二称，《驾驶我的车》获奖是“非常尴尬的局面”，因为这部电影没有得到主流电影公司的支持，而且得到的资金太少。 |
| In a brief email exchange, Shigehiko Hasumi, a former president of the University of Tokyo and a mentor of Mr. Hamaguchi’s, said he had “no interest in the Academy Awards,” and wrote that “Drive My Car” is “hardly an excellent work” without further explanation. | 东京大学前校长、滨口龙介的导师之一莲实重彦在一封简短的电子邮件中表示，他“对奥斯卡奖没有兴趣”，并称《驾驶我的车》“算不上一部优秀的作品”，他没有对此做出进一步解释。 |
| Still, Ms. Tsuda, the television producer, said the Oscar success of “Drive My Car” might yet prompt more Japanese filmmakers to consider an international audience. | 不过，电视制片人津田玉木说，《驾驶我的车》在奥斯卡的成功可能会促使更多日本电影人考虑吸引国际观众。 |
| “Especially now, with the existence of streaming, Netflix, Amazon and such, Japanese movies and TV shows are streamed all around the world and accessible,” Ms. Tsuda said. “So I think people need to be aware of a foreign audience and what perceptions they may have.” | “尤其是现在，有了流媒体、Netflix、亚马逊等等，日本的电影和电视节目在世界各地都可以观看，”津田玉木说。“所以我认为，人们需要了解外国观众以及他们的看法。” |
| For his part, Mr. Hamaguchi said he was not thinking much about a broader audience when he made the film. “I myself am a film viewer, so therefore I have my own standards,” he said in the backstage interview after the Oscars. “So I am thinking about my own personal standards and whether the filmmaking that I am doing is meeting those standards.” | 滨口龙介说，他在拍摄这部电影时并没有考虑到更广泛的观众。“我自己也是一名电影观众，所以我有我自己的标准，”他在奥斯卡颁奖礼后的后台采访中说。“所以我在思考我自己的个人标准，以及我做的电影制作是否达到了这些标准。” |
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