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| Manohla Dargis |
| 曼诺拉·达吉斯 |
| The Most Fearless Visions |
| 无所畏惧的影像 |
| In 1985, The New York Times’s longtime film critic Vincent Canby wrote an inspired, admirably cranky essay about the future of cinema. The spark for his ruminations was “Room 666,” a documentary from Wim Wenders that had just opened in New York. Shot during the 1982 Cannes Film Festival, the movie consists of different directors alone in a hotel room where they respond to a question that Wenders had written on a piece of paper: “Is cinema a language that is about to get lost, an art that is about to die?” |
| 1985年，《纽约时报》老牌影评人文森特·坎比写了一篇有感而发的文章，用令人称奇的暴躁语调谈了电影的未来。引发他反思的是维姆·文德斯的纪录片《666号房间》(Room 666)，当时刚在纽约上映。影片拍摄于1982年坎城影展期间，是几位导演独自一人待在一个酒店房间里，回答一个文德斯写在纸上的问题：“电影是一种即将滚一边去的语言，还是一门行将就木的艺术？” |
| The first director — and the other inspiration for Canby’s disquiet — was Jean-Luc Godard, who described Wenders’s project as an inquest on the future of films. For the next 10 minutes or so, Godard, smoking his familiar cigar, meditates on this vexing, evergreen question with his characteristic intelligence, opacity and epigrammatic wit. The news isn’t good. “The dream of Hollywood is to make one film,” Godard says, “and it’s television that makes it, but which is distributed everywhere” — which is as good a description of our NetflixDisneyMarvel world as I’ve read. |
| 第一位导演——另一个令坎比大为忧虑的原因——是让-吕克·戈达尔，他形容文德斯的这个计划是对电影未来的一次审讯。接下来10分钟左右的时间里，戈达尔抽着他那熟悉的雪茄，用他特有的智慧、暧昧和警世妙语，思考着这个令人烦闷却又历久弥新的问题。看来，情况不太妙。“好莱坞的梦想是拍一部电影，”戈达尔说，“但最终成事的是电视，它可以传播到任何地方”——这是我读到的对我们这个“网飞迪士尼漫威”世界的最佳描述。 |
| For Canby, Godard’s prediction of a one-movie world had already come to pass. Acclaimed films from the likes of Jonathan Demme were struggling at a box office dominated by wide releases like “Beverly Hills Cop.” Canby believed that there was plenty of blame to go around, pointing to risk-averse money types and a “sheeplike” public. He wrote that “our society is being increasingly homogenized, possibly through the pervasive power of television to plant the same ideas, the same fears and the same fads in more people, more quickly, than has ever before been possible in the history of the world.” Yikes! |
| 在坎比看来，戈达尔预言的一部电影的世界已经过去了。乔纳森·德默这样的人拍出受赞誉的影片，票房却很惨淡，没法跟《比佛利山超级警探》(Beverly Hills Cop)这种得到广泛上映的大热门媲美。坎比认为原因有许多，比如不愿担风险的资本和“喂啥吃啥”的公众。他写道，“我们的社会日渐同质化，可能是通过电视无所不在的力量，以史上空前的速度，在空前之多的人当中，培育相同的观念、相同的恐惧和相同的狂热。”完蛋了！ |
| I don’t think Canby and Godard were entirely right (feel free to discuss among yourselves), but after nearly four decades and innumerable interchangeable franchise sequels, it’s clear they weren’t entirely wrong. Yet, all these years later — and even as the industry struggles through yet another of its interminable crises — I am again heartened by all of the good and great movies that continue to be released. People often ask me if I’ve seen any good movies lately. I have, many of them, this and every year, but if I can’t tempt you with one of my favorites of 2022, I suggest you watch a film or two by Godard. |
| 我并不完全同意坎比和戈达尔（这方面大家可以尽情讨论），但近四十年的时间和无数看上去差不多的大片续集之后，显然他们说对了一些东西。不过，经过这么些年——何况电影业正在又一场看不到尽头的危机之中挣扎——我再一次被不断涌现的好片、杰作所打动。常有人问我最近看了什么好电影。我说有很多，哪一年都有，但是如果我给出的2022年心水之选你全都没兴趣，那么我建议看一两部戈达尔。 |
| His soul left the world on Sept. 13; his movies will live forever. |
| 他的灵魂于9月13日离开人世；他的电影将得到永生。 |
| 1. ‘EO’ (Jerzy Skolimowski) |
| 1. 《伊偶》(EO) ，导演：耶日·斯科利莫夫斯基 |
| Soon after this indelible heartbreaker opens, a little circus donkey called EO — named for the sounds he makes — sets off on a strange, at times phantasmagoric, adventure. Along the way, he encounters other animals but, more consequently, kind and cruel people whose treatment of him reflects the denatured world that we have made. Now 84, Skolimowski has made one of the rare movies that speak to life’s most essential questions, and he’s done so with the ecstatic vision and fearlessness of a cinematic genius who seems as if he’s just getting started. (In theaters.) |
| 在令人难忘、心碎的开场之后，马戏团小驴伊偶——这名字来自他的叫声——很快开始了一段怪异的、有时显得不真实的历险。一路上他遇到过别的动物，不过更重要的还是一些人，这些人有好有坏，他们对待他的方式反映出我们创造了一个跟自然相去甚远的世界。如今已84岁高龄的斯科利莫夫斯基拍出了一种触及生命最本质问题的罕见电影，而其中呈现的癫狂影像和无所畏惧的态度，仿佛来自一个初出茅庐的电影天才。（上映中。） |
| 2. ‘Petite Maman’ (Céline Sciamma) |
| 2. 《小妈妈》(Petite Maman)，导演：瑟琳·席安玛 |
| Set largely in and around a house nestled in the woods, Sciamma’s Lilliputian tour de force is a wittily modern fairy tale and model of elegant narrative economy. At its charming center is a young girl who together with another new acquaintance ventures forth on a modestly scaled yet expansive journey filled with delights and enchantment, one that finds our little heroine embarked on the greatest, most mysterious adventure of all: love. (Streaming on Hulu.) |
| 席安玛的小人国式杰作将主要场景设置在了丛林中的一座房屋及周围地带，这是一部妙语连珠的现代童话，也是优雅简洁叙事的典范。引人入胜的核心情节是关于一名年轻女孩，她与新认识的伙伴冒险踏上了一段范围不大但深远的旅程，充满快乐与魔力，让我们的小女主人公得以经历最伟大、最神秘的冒险：爱。（Hulu点播。） |
| 3. ‘Nope’ (Jordan Peele) |
| 3. 《不》(Nope)，导演：乔丹·皮尔 |
| For his latest, Peele has drawn on touchstones and assorted genres — it’s a horror movie, a family comedy, a revisionist western, a science-fiction freakout — to make something unequivocally his own. There’s a lot going on in “Nope,” but what lingers is how Peele seduces you with familiar film strategies for an elegiac meditation on people of color in an industry — in a country — that has turned their suffering into spectacle. It’s a history that Peele has already upended by becoming one of the most significant American directors working today. (For rent on most major platforms.) |
| 皮尔在最新的创作中博采众长，揉合了恐怖电影、家庭喜剧、粉饰历史的西部片和科幻惊悚片的元素，拍出了个人色彩明显的作品。本片故事线丰富，但令人难忘之处在于皮尔如何用熟悉的拍摄手法诱导观众对一个行业——以及整个国家——如何将有色人种的苦难变成奇观的哀歌沉思不已。这样的历史已经被皮尔颠覆，因为他正在成为美国当今最重要的导演之一。（可在大多数主流平台租赁。） |
| 4. ‘No Bears’ (Jafar Panahi) |
| 4. 《无熊之境》(No Bears)，导演：贾法·帕纳西 |
| For years, the veteran filmmaker Panahi — a longtime critic of the Iranian government — has been making movies under profoundly challenging circumstances, including house arrest. In “No Bears,” he plays himself (presumably with some artistic license), a filmmaker named Jafar Panahi who has moved temporarily to a small town as he remotely directs a movie in nearby Turkey. It’s a difficult process as well as an act of profound resistance. Here, in a story of place and displacement, Panahi soars above borders both imagined and terrifyingly real. (Coming to theaters.) |
| 多年来，长期批评伊朗政府的资深电影人帕纳西一直在极为艰苦的环境——包括被软禁——中创作电影。在《无熊之境》中，他扮演了自己（算是某种艺术放纵），讲述了一位名叫贾法·帕纳西的电影人暂时搬到土耳其附近的一座小城，远程执导一部电影的故事。这是一个艰难的过程，也是一种深刻的反抗。在这里，在一个关于境况和流亡的故事中，帕纳西超越了想象的边界，也超越了恐怖的现实。（即将上映。） |
| 5. ‘Kimi’ (Steven Soderbergh) |
| 5. 《琪米》(Kimi)，导演：史蒂文·索德伯格 |
| There isn’t a false or wrong note in this witty thriller about a woman facing multiple challenges, including her own (well-founded!) anxieties about the world. Set very much in the now — our heroine, a resourceful tech worker played by a terrific Zoë Kravitz, wears a mask when she goes outside — the movie touches on a number of intersecting subjects, including isolation and surveillance technology as a means of oppression. But it’s Soderbergh’s supremely assured filmmaking that has repeatedly brought me back to this playful delightful. (Streaming on HBO Max.) |
| 这部诙谐机智的惊悚片节奏上没有任何行差踏错，讲述了一位女性面临多重挑战，包括她自己（理由充分！）对世界的焦虑。故事背景类似当下，我们的女主人公是一位足智多谋、出门要戴口罩的科技工作者，由出色的佐伊·克罗维兹扮演。这部电影触及了许多相互关联的主题，包括作为压迫手段的隔离和监控技术。但索德伯格笃定无比的拍摄手法让我对这部生动有趣的影片流连忘返。（HBO Max点播。） |
| 6. ‘The Eternal Daughter’ (Joanna Hogg) |
| 6. 《永恒的女儿》(The Eternal Daughter)，导演：乔安娜·霍格 |
| A stunning Tilda Swinton plays both a mother and her adult daughter in this beautifully controlled, affecting story about memory and grief. When it opens, the two are en route to a getaway at an elegant estate, a trip that soon turns beguilingly mysterious. With precision, gentle humor and some sly cinematic chicanery, Hogg and her brilliant actress turn something that looks ordinary into something quite extraordinary. (In theaters.) |
| 在这关于回忆和悲伤的优美克制而又动人的故事中，惊艳的蒂尔达·斯文顿一人分饰母亲和她已成年的女儿。影片开场是两人正在前往一处雅致庄园的途中，这次旅行很快就充满了神秘的谜团。霍格与她才华横溢的女主角用细腻的情感、温柔的幽默以及带有些许狡黠的电影骗术，把原本平平无奇的事件变得相当不同寻常。（上映中。） |
| 7. ‘Happening’ (Audrey Diwan) |
| 7. 《正发生》(Happening)，导演：奥黛丽·迪万 |
| Based on the memoir by Annie Ernaux — who won the Nobel Prize in literature this year — “Happening” is one of several powerful recent movies that understand abortion as a fundamental right and an index of a culture’s attitude toward women. With intimacy and lucid resolve, Diwan makes it clear that abortion isn’t simply grist for hand-wringing and political argument; it is instead, a practical and necessary means by which her heroine can secure self-sovereignty, a future, a life. There is only one choice for her, and it is hers to make. (For rent on most major platforms.) |
| 《正发生》改编自今年诺贝尔文学奖得主安妮·埃尔诺的回忆录，是近年来将堕胎视为基本人权、反映一种文化对女性态度的极具感染力的影片之一。迪万用亲切和清醒决绝的态度表明，堕胎并不仅仅是焦虑绝望和政治争论的素材；相反，这是一种切实必要的手段，她的女主人公可以依靠这种手段来确保其自主权、未来和生活。她只有一个选择，也是属于她自己的选择。（可在大多数主流平台租赁。） |
| 8. ‘Decision to Leave’ (Park Chan-wook) |
| 8. 《分手的决心》(Decision to Leave)，导演：朴赞郁 |
| One of the dizzying pleasures of this labyrinthine movie is that it’s a delirious riff on “Vertigo,” Alfred Hitchcock’s aching 1958 drama about a male detective’s obsession with a mystery woman. Once again, there is a man and a woman as well as love and betrayal. Yet as “Decision to Leave” unfolds and settles into its own distinctively kinked groove, the movie’s emotional focus progressively shifts from the obsessed lover to the object of his relentless, uncomprehending gaze, and Park’s clever homage turns into a poignant rejoinder. (In theaters.) |
| 这部影片剧情错综复杂，令人眼花缭乱的观影乐趣之一，就是它用荒诞手法复刻了阿尔弗雷德·希区柯克1958年的《迷魂记》，讲述了一名男性侦探对一名神秘女子的迷恋。又是一男一女，又是爱与背叛。然而随着《分手的决心》剧情展开，故事进入了独有的曲折，其情感焦点逐渐从痴情爱人转移到他带着无情和困惑所凝视的对象，朴赞郁巧妙的致敬变成尖锐的反驳。（上映中。） |
| 9. ‘Expedition Content’ (Ernst Karel and Veronika Kusumaryati) |
| 9. 《探险内容》(Expedition Content)，导演：（恩斯特·卡雷尔、维罗妮卡·库苏马亚蒂） |
| This documentary made for the weirdest moviegoing experience I had this year, partly because for most of its 78 minutes all it shows is a black screen. Although the movie includes a few brief visuals, the relative absence of imagery forces your attention on the soundtrack, which consists of audio recorded during the making of “Dead Birds” (1964), an ethnographic classic about the Dani people of New Guinea. The result is a mind-expanding inquiry on anthropology — how it speaks and for whom — and on cinema itself. (More information on the film is here.) |
| 这部纪录片是我今年最奇异的观影体验，部分原因是在78分钟片长的大部分时间里，它都是黑屏的。虽然影片包含了一些简短的视觉效果，但相对较少的影响会迫使观众把注意力集中在电影原声上，其中包括拍摄《死鸟》（1964年）时录制的音频，这是一部关于新几内亚达尼族人的经典民族志作品。其体验就是对人类学——它表达了什么以及为谁表达——和电影本身的一次发人深省的探索。（点击此处了解本片更多信息。） |
| 10. ‘All the Beauty and the Bloodshed’ (Laura Poitras) |
| 10. 《美人与流血事件》(All the Beauty and the Bloodshed)，导演：劳拉·珀特拉斯 |
| Poitras’s tough-minded, formally graceful portrait of the photographer Nan Goldin, her art and her activism, opens with Goldin huddled with some like-minded compatriots outside the Metropolitan Museum of Art. Before long, Goldin et al., are staging a die-in inside the institution, one of many such protests that she and others mounted against institutions that had taken money from members of the Sackler family whose company, Purdue Pharma, developed the opioid painkiller OxyContin. As Poitras goes on to show, Goldin’s protest is just the latest chapter for an artist who draws beauty from bloodshed. (In theaters.) |
| 珀特拉斯以坚定的姿态和优雅的形式描绘了摄影师南·高登的形象，以及她的艺术作品和行动主义，开场即是高登在大都会艺术博物馆外与志同道合者聚首的画面。很快，高登一行人就在博物馆内进行了一场装死抗议，这是她和其他人发起的许多此类抗议活动之一，抗议的对象是那些接受萨克勒家族成员资助的机构，阿片类止痛药奥施康定正是由该家族经营的企业普渡制药研发。正如珀特拉斯继续展示的那样，高登的抗议只是这位从血腥中汲取美感的艺术家最新一段人生篇章。（上映中。） |
| And make sure to watch: “Armageddon Time”; “The Cathedral”; “Corsage; “Descendant”; “Dos Estaciones”; “Funny Pages”; “Futura”; “Great Freedom”; “Hold Your Fire”; “I Didn’t See You There”; “Intregalde”; “Lingui, The Sacred Bonds”; “Louis Armstrong’s Black & Blues”; “Nanny”; “Playground”; “Pleasure”; “Return to Seoul”; “Riotsville, U.S.A.”; “Three Minutes: A Lengthening”; “The Tsugua Diaries”; “Till”; “The Woman King”; and “The Worst Person in the World.” |
| 也不要错过：《世界末日》(Armageddon Time)；《大教堂》(The Cathedral)；《束胸》(Corsage)；《非洲城的后裔》(Descendant)；《两季》(Dos Estaciones)；《有趣页面》(Funny Pages)；《未来》(Futura)；《伟大的自由》(Great Freedom)；《不要开枪》(Hold Your Fire)；《我未在那见过你》(I Didn’t See You There)；《恩特雷加尔代》(Intregalde)；《纽带》(Lingui, The Sacred Bonds)；《路易斯·阿姆斯特朗：黑与蓝》(Louis Armstrong’s Black & Blues)；《移民保姆》(Nanny)；《童一个世界》(Playground)；《欢愉》(Pleasure)；《回首尔》(Return to Seoul)；《美利坚合众国里奥茨维尔》(Riotsville, U.S.A.)；《三分钟——超展开》(Three Minutes: A Lengthening)；《月八日记》(The Tsugua Diaries)；《蒂尔》(Till)；《达荷美女战士》(The Woman King)；以及《世界上最糟糕的人》(The Worst Person in the World)。 |
| A.O. Scott |
| A·O·斯科特 |
| The Best Questions Raised by Movies |
| 电影提出的最佳问题 |
| Scrolling through my memories of 2022, I find a lot of interesting movies and a lot of anxious, contradictory opinionizing about The State of Cinema. Most of it had to do with one question: Would people venture back into theaters post-pandemic, or did the future belong to streaming? The boffo success of “Top Gun: Maverick” in May and “Black Panther: Wakanda Forever” in November didn’t quite settle the issue. |
| 回顾我对2022年的记忆，我发现了很多有趣的电影和很多关于电影现状的焦虑、矛盾的观点。其中大部分关乎一个问题：人们会在大流行后重返影院，或是未来是流媒体的时代？5月《壮志凌云：独行侠》(Top Gun: Maverick)和11月《黑豹2》(Black Panther: Wakanda Forever)的大获成功并没有完全解决这个问题。 |
| Neither does the proliferation of movies that evoke the wonder and glory of the movie past. Cine-nostalgia has become a genre in its own right. Last year’s tender elegies to celluloid, “Belfast” and “The Hand of God,” were followed this year by “The Fabelmans,” Steven Spielberg’s reflection on his own film-besotted youth; Sam Mendes’s “Empire of Light,” set in a fading seaside movie palace in early 1980s Britain; and “Babylon,” a fever dream of old Hollywood from Damien Chazelle. |
| 让人回忆电影业往昔奇迹和荣耀的电影泛滥成灾，但也没有解决这个问题。对电影怀旧本身已经成为一种题材。去年的《贝尔法斯特》(Belfast)和《上帝之手》(The Hand of God)是献给赛璐珞的温柔挽歌，紧随其后的是今年的《造梦之家》(The Fabelmans)，这是史蒂文·斯皮尔伯格对自己年轻时痴迷电影的反思；在山姆·门德斯的《光之帝国》(Empre of Light)中，故事发生在20世纪80年代早期英国一座衰败的海滨电影院；还有《巴比伦》(Babylon)——达米恩·查泽雷对老好莱坞的狂热梦想。 |
| Sentimentality and self-consciousness can be signs of decadence. Set out to memorialize the glories of an embattled art form, and you may end up contributing to its obituary. Not that I think the movies are dying, any more than they have been dying for the past 90 years or so, as they were fatally menaced by sound, television, corporate greed and audience philistinism. The movies are always turning into something else, even as they drag their history along with them. Old styles persist alongside new possibilities, and originality finds a way to assert itself amid the thunderous conformity of the franchises and the howling wilderness of the algorithms. |
| 多愁善感和自我意识会被看作颓废的迹象。对于一种四面楚歌的艺术形式，要去纪念它过去的辉煌，你可能最终制造出了它的讣告。并不是说我认为电影正在消亡，就像过去90年来它们一直在消亡一样——它们受到过声音、电视、企业贪婪和观众庸俗主义的致命威胁。即使电影拖着长长的历史，它始终在变化成别的东西。旧的风格持续，与新的可能性并存，在电影系列轰轰烈烈的统一性和算法的荒原中，原创性找到了一种证明自己的方式。 |
| Like every other art, film advances through criticism, by which I don’t mean after-the-fact assessments by people like me, but the skeptical scrutiny that filmmakers bring to bear on the conditions and traditions of their own creative practice. The two best meta-movies of the year, Jordan Peele’s “Nope” and Jafar Panahi’s “No Bears,” accentuate the negative in their titles, and take tough, contrarian stands against gauzy clichés about the magic of movies and the power of imagination. They remind us that magic is always the product of hard, unglamorous work, and that power is never innocent. |
| 像所有其他艺术一样，电影通过批评而进步，我指的不是像我这样的人的事后评估，而是电影制作人对他们自己的创作实践的条件和传统的怀疑审视。乔丹·皮尔的《不》和贾法尔·帕纳西的《无熊之境》是今年的两部最佳元电影，它们强调了片名中的负面因素，反对电影的魔法和想象的力量这种华而不实的陈词滥调，采取了强硬、逆向的立场。它们提醒我们，魔法永远是艰苦、乏味的工作的产物，而权力从来都不是清白的。 |
| If one thing unites the 10 disparate choices on my list — which ranges from an old-fashioned French costume drama to an Afrofuturist science-fiction musical, with a couple of documentaries in the mix — it is that critical spirit. They seem to question not only the aspects of human experience they represent, but also their own methods and assumptions. They are pictures very much in motion, thinking out loud in the darkness. |
| 我的清单上有10部各不相同的电影，从老式的法国古装剧到非洲未来主义科幻音乐剧，还有几部纪录片，如果有什么东西可以将它们团结起来，那就是批判精神。它们似乎不仅质疑它们所展示的人类经验的各个方面，而且质疑它们自己的方法和假设。这些电影在运转着，在黑暗中说出自己的想法。 |
| 1. ‘Nope’ (Jordan Peele) |
| 1.《不》(Nope)，导演：乔丹·皮尔 |
| Some fans of Peele’s earlier films, “Get Out” and “Us,” may have been nonplused by this curious mash-up of western and science-fiction tropes. What was it saying? But the apparent absence of an overt allegorical or political message strikes me as an advance rather than a retreat. The movie is a genre joyride and a philosophical puzzle. And it has plenty to say — about labor, family, race, grief and (yes) movies — in a visual language that feels at once familiar and radically new. The playful, heartfelt performances (from Daniel Kaluuya, Keke Palmer, Steven Yeun and Brandon Perea) achieve the same kind of improbable, thrilling balance. (For rent on most major platforms.) |
| 皮尔早期电影《逃出绝命镇》(Get Out)和《我们》(Us)的一些影迷可能对这种西部片和科幻桥段的奇特混搭感到大惑不解。它在说什么？但我感觉这部电影里没有明显的寓言或政治信息是一种进步而不是退缩。这部电影不局限于类型，并且是一个哲学难题。它有很多话要说——关于劳动、家庭、种族、悲伤和（对，还有）电影，它的视觉语言让人立即感到熟悉又新颖。俏皮、发自内心的表演（来自丹尼尔·卡卢亚、柯柯·帕尔莫、史蒂文·元和布兰登·佩利亚）实现了同样不可思议、激动人心的平衡。（可在大多数主要平台上租赁观看。） |
| 2. ‘Neptune Frost’ (Saul Williams and Anisia Uzeyman) |
| 2.《海王星霜冻》(Neptune Frost)，导演：索尔·威廉姆斯、安妮西亚·乌兹曼 |
| Speaking of radical and new, this masterpiece of anarchist aesthetics faces down our current dystopia — one in which African miners are worked to death to dig the minerals that power the West’s technology; sexual and political violence are endemic; ecological catastrophe and genocide are in danger of being normalized — and summons up a utopian spectacle of music, silliness, sex and beauty. A hundred years from now, if the planet survives, this will be counted among the classics of our sorry time, taught in schools and quoted in speeches. (Streaming on the Criterion Channel and Kanopy.) |
| 说到激进和新颖，这部无政府主义美学的杰作直面我们当前的反乌托邦——非洲矿工为了挖掘为西方技术提供动力的矿物而工作到死；性暴力和政治暴力泛滥；生态灾难和种族灭绝有被正常化的危险——并唤起一出乌托邦奇观，包含音乐、糊涂、性和美。一百年后，如果地球还在，这部电影将成为我们悲哀时代的经典之作，被学校教授，被讲座引用。（在Criterion Channel和Kanopy上观看。） |
| 3. ‘Mr. Bachmann and His Class’ (Maria Speth) |
| 3. 《巴赫曼先生和他的学生》(Mr. Bachmann and His Class)，导演：玛利亚·施佩特 |
| When they aren’t hailed as heroes, schoolteachers are held up as scapegoats. The actual work they do is rarely examined with the kind of rigorous, sympathetic scrutiny that Speth brings to this portrait of a German educator approaching retirement. Her documentary is an argument for paying attention and a lesson in how to do it. (Streaming on Mubi.) |
| 当教师不被誉为英雄时，就会被当作替罪羊。施佩特刻画了一个即将退休的德国教育家形象，很少有人带着严格且具有同情心的仔细体察去审视他们的实际工作。她的这部纪录片主张关注细节，并教人们如何做到这一点。（在Mubi上观看。） |
| 4. ‘Aftersun’ (Charlotte Wells) |
| 4. 《晒后假日》(Aftersun)，导演：夏洛特·威尔斯 |
| A father (Paul Mescal) and his 11-year-old daughter, Sophie (Frankie Corio), take a vacation on the Turkish coast, a trip filtered through Sophie’s adult memory. This debut feature feels so matter-of-fact and unaffected that you may not notice the complexity and assurance of its craft. Its emotional power, though, is unmistakable. (In theaters.) |
| 一位父亲（保罗·梅斯卡尔）和他11岁的女儿索菲（弗兰基·科里奥）在土耳其海岸度假，这是成年索菲回忆中的一次旅行。这部处女作电影给人的感觉是如此的真实自然，以至于你可能没有注意到其技艺的复杂性和可靠性。然而，它的情感力量是确信无疑的。（上映中。） |
| 5. ‘No Bears’ (Jafar Panahi) |
| 5. 《无熊之境》(No Bears)，导演：贾法·帕纳西 |
| Panahi, recently sentenced to prison in Iran (and previously banned from directing movies there), continues his relentless, humane investigation of his country and his vocation. Heartbroken but not quite despairing, he testifies to the power of cinema as a tool of resistance even as he reckons with its — and his own — limitations. (Coming to theaters.) |
| 帕纳希最近在伊朗被判入狱（此前他被禁止在那里执导电影），他继续对他的国家和他的职业进行不懈的、人道的调查。心碎但并未绝望，他证明了电影作为抵抗工具的力量，即使他考虑到电影——以及他自己的——局限性。（即将上映。） |
| 6. ‘Tár’ (Todd Field) |
| 6. 《塔尔》(Tár)，导演：托德·菲尔德 |
| Of course there is no such person as Lydia Tár, the problematic maestro of the Berlin Philharmonic. But also, thanks to Cate Blanchett’s galvanic performance and Todd Field’s ruthlessly precise direction, there is. (In theaters.) |
| 当然，柏林爱乐乐团的莉迪亚·塔尔并不真的存在。但，多亏了凯特·布兰切特的戏剧性演出以及托德·菲尔德无情般的精确导演，这位充满争议的大师在银幕中获得了真实的生命。（上映中。） |
| 7. ‘Lost Illusions’ (Xavier Giannoli) |
| 7. 《幻灭》(Lost Illusions)，导演：泽维尔·吉亚诺利 |
| A breathless tour of the sleazy, seductive modern media system, in which reputations and loyalties are bought and sold, hype trumps truth and gossip makes the world go round. It’s early 19th-century Paris, but the period atmosphere only makes the present-day relevance more piquant. Benjamin Voisin plays Lucien, a young poet from the provinces who is all too happy to savor the corruptions of the capital. (Streaming on Mubi.) |
| 这是一次在既龌龊又诱人的现代媒体系统之中的扣人心弦之旅：名誉和忠诚的买卖稀松平常，宣传压倒真相，而流言蜚语则运转着这个世界。虽然背景为19世纪早期的巴黎，但这个时代的氛围使其与当代相关性显得更为辛辣。本杰明·瓦赞饰演卢锡安，一名来自外省的年轻诗人，乐于品尝法国首都的各类腐败。（在Mubi上观看。） |
| 8. ‘Flux Gourmet’ (Peter Strickland) |
| 8. 《变通美食家》(Flux Gourmet)，导演：彼得·斯崔克兰德） |
| A perverse, hilarious essay on the nature of art in the form of a fantastical tale about food, passion, flatulence and funny hats. (For rent on most major platforms.) |
| 一篇异常又搞笑的关于艺术本质的论文，以奇幻的形式呈现，讲述了食物、激情、浮夸以及滑稽帽子的故事。（可在大部分主要平台上租看。） |
| 9. ‘All the Beauty and the Bloodshed’ (Laura Poitras) |
| 9. 《美人与流血事件》(All the Beauty and the Bloodshed)，导演：劳拉·珀特拉斯 |
| This documentary is a collaboration between two relentlessly honest artists: Poitras and the photographer Nan Goldin, whose candor about her own life is inspiring and sometimes terrifying. Goldin’s work and activism during the AIDS and opioid epidemics are the focus, but if this is a biographical documentary it’s also one that, like Goldin’s pictures, redraws the boundary between life and art. (In theaters.) |
| 这部纪录片是两位近乎顽固的诚实艺术家之间的合作：柏翠丝与摄影师南·戈丁。后者对自己生活的坦率既有激励作用也有时令人害怕。戈丁在艾滋病和阿片类毒品流行期间的作品以及激进主义是作品的焦点，然而如果这是一个传记性的纪录片，那就如戈丁的其他照片一样，也重新划定了生活与艺术之间的界限。（上映中。） |
| 10. ‘Down With the King’ (Diego Ongaro) |
| 10. 《击垮国王》(Down With the King)，导演：迭戈·翁加罗 |
| While not explicitly a pandemic movie, this quiet character study has many of the hallmarks of Covid cinema: a small cast; outdoor locations; uncomplicated scenes and a minimalist approach to plot. A hip-hop star, played by the real-life rapper Freddie Gibbs, has gone into the woods, like Henry David Thoreau, to live deliberately. His malaise, beautifully conveyed in Gibbs’s subtle, unaffected performance, is specific to his own professional and personal circumstance, but also captures what a lot of us have felt in the past few years. It’s easy to feel we must reset the terms and conditions of our lives, but very hard to figure out how. (For rent on most major platforms.) |
| 虽然这不是一部明确的大流行电影，但其安静的角色研究有着新冠时代电影的许多特征：小阵容；外景；不复杂的场景以及极简主义情节。说唱歌手弗雷迪·吉布斯扮演的嘻哈明星像亨利·大卫·梭罗一样走进树林，去谨慎地生活。他的不安被吉布斯的微妙又朴实的演出美妙地传达给了观众。这种不安有他自身职业以及个人处境的具体性，但也反映了我们很多人在过去几年中的感受。我们很容易感到我们生命中的许多细则与契约需要重启，但具体应该怎样去做却非常困难。（可在大部分主要平台上租赁。） |
| And 20 more … |
| 还有以下20个…… |
| “A Chiara” (Jonas Carpignano); “All That Breathes” (Shaunak Sen); “Armageddon Time” (James Gray); “Corsage” (Marie Kreutzer); “Descendant” (Margaret Brown); “Donbas” (Sergei Loznitsa); “Dos Estaciones” (Juan Pablo González); “Everything Everywhere All at Once” (Daniels); “The Fabelmans” (Steven Spielberg); “Fire on the Mountains” (Ajitpal Singh); “Futura” (Pietro Marcello, Francesco Munzi and Alice Rohrwacher); “Glass Onion: A Knives Out Mystery” (Rian Johnson); “Happening” (Audrey Diwan); “The Inspection” (Elegance Bratton); “Lingui, the Sacred Bonds” (Mahamat-Saleh Haroun); “Marx Can Wait” (Marco Bellocchio); “Pleasure” (Ninja Thyberg); “The Woman King” (Gina Prince-Bythewood); “Women Talking” (Sarah Polley); “X” (Ti West). |
| 《为了琪亚拉》(A Chiara)，导演：乔纳斯·卡皮纳诺；《生生相息》(All That Breathes)，导演：肖纳克·申；《世界末日》(Armageddon Time)，导演：詹姆斯·格雷；《束胸》(Corsage)，导演：玛丽·克鲁泽；《非洲城的后裔》(Descendant)，导演：玛格丽特·布朗；《顿巴斯》(Donbas)，导演：谢尔盖·洛兹尼察；《两季》(Dos Estaciones)，导演：约翰·保罗·冈萨雷斯；《瞬息全宇宙》(Everything Everywhere All at Once)，导演：关家永、丹尼尔·施纳特；《造梦之家》(The Fabelmans)，导演：史蒂文·斯皮尔伯格；《大山里的星火》(Fire on the Mountains)，导演：阿吉帕尔·辛格；《未来》(Futura)，导演：皮耶特罗·马切罗、弗兰西斯科·穆尼兹和阿莉切·罗尔瓦赫尔；《利刃出鞘2》(Glass Onion: A Knives Out Mystery)，导演：莱恩·约翰逊；《正发生》(Happening)，导演：奥黛丽·迪万；《检阅日》(The Inspection)，导演：艾利根斯·布拉顿；《纽带》(Lingui, the Sacred Bonds)，导演：马哈曼特-萨雷·哈隆；《马克思可以等待》(Marx Can Wait)，导演：马可·贝洛基奥；《欢愉》(Pleasure)，导演：尼基娅·泰伯格；《达荷美女战士》(The Woman King)，导演：吉娜·普林斯-拜斯伍德；《女人们的谈话》(Women Talking)，导演：萨拉·波莉；《X》，导演：缇·威斯特。 |
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