22

迷失東京

Lost in Translation

導(dǎo)演：索菲亞·科波拉（Sofia Coppola）

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Please stop trying to figure out what Bill Murray says to Scarlett Johansson at the end of Sofia Coppola's beautiful and ineffably bittersweet second film; the words don't matter, and the moment is only so powerful because you can't hear them. It's this brief encounter on the streets of Shinjuku — this last goodbye between a dislocated young philosophy grad and a disenchanted old movie star — that solidifies Lost in Translation as her most perfect film, the one that best articulates how it can be to find yourself in a world that seldom lets you forget where you are.
請(qǐng)別再研究比爾·墨菲最后對(duì)斯嘉麗·約翰遜說了什么了，那些話并不重要，那一刻之所以如此具有感染力，正是因?yàn)槟懵牪坏剿麄冋f了什么。索菲亞·科波拉的第二部作品《迷失東京》既甜蜜又哀傷，有種難以言喻的美麗。年輕的哲學(xué)系女畢業(yè)生與過氣的電影明星，身處異鄉(xiāng)的兩人，在新宿街頭的短暫相遇，最后一次互相告別，正是這些使得《迷失東京》成為索菲亞·科波拉最優(yōu)秀的作品。它講述的是，無(wú)論身處何方，到頭來(lái)人始終無(wú)法忘記自己的身份。

– David Ehrlich, Indiewire, US

23

隱藏?cái)z像機(jī)

Caché

導(dǎo)演：邁克爾·哈內(nèi)克（Michael Haneke）

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Daniel Auteuil and Juliette Binoche star as a bourgeois Parisian couple that start to receive disturbing video tapes showing their home. Who is watching them? And what is actually revealed on those tapes? As soon as you realise that the true revelation lies in the couple's reaction to the tapes, things start to dissolve. Interior and exterior conflict, individual and collective guilt become one.
丹尼爾·奧圖和朱麗葉·比諾什飾演的一對(duì)巴黎中產(chǎn)階級(jí)夫婦收到了奇怪的錄像帶，這些錄像帶顯示有人注視著他們家的一舉一動(dòng)。誰(shuí)在注視著他們？這些錄像帶又揭示了什么？想要揭開這個(gè)秘密，夫婦倆對(duì)錄像帶的反應(yīng)是關(guān)鍵。當(dāng)你意識(shí)到這點(diǎn)時(shí)，真相開始浮出水面。內(nèi)在與外在沖突、個(gè)人與集體罪行合二為一。

– Hannah Pilarczyk, Der Spiegel, Germany

24

大師

The Master

導(dǎo)演：保羅·托馬斯·安德森（Paul Thomas Anderson）

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Paul Thomas Anderson's ambitious, powerful and ultimately elegiac masterpiece centres on the question of whether man is, in fact, an animal. Tormented alcoholic Freddie Quell returns from World War Two and struggles, unsuccessfully, to conform to post-war America's social evolution.
保羅·托馬斯·安德森這部宏大的杰作頗具感染力，其根本是哀傷的，它探討的是，人到底是不是動(dòng)物。飽受磨難的酒鬼弗萊迪·奎爾從二次大戰(zhàn)退伍回家后，無(wú)法適應(yīng)戰(zhàn)后美國(guó)社會(huì)的變化。

Eventually he finds some sort of deliverance in the company and teachings of the leader of an urban cult, Lancaster Dodd. Much has been made of the analogies between Scientology and Dodd's cause, but the real point of the film is an exploration of thought and consciousness, and whether submission to belief systems can genuinely tame atavism.
在宗教狂熱分子蘭卡斯特·多德的陪伴和教導(dǎo)下，他找到了某種解脫。很多人拿多德的宗教跟科學(xué)神教作類比，但本片真正的目的在于，探索思想和意識(shí)，以及信奉某種信仰體系能否真正克服返祖現(xiàn)象。

– Ali Arikan, Dipnot TV, Turkey

25

記憶碎片

Memento

導(dǎo)演：克里斯托弗·諾蘭（Christopher Nolan）

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Christopher Nolan's Memento, an airtight puzzle of a movie about a man who can't form new memories searching for his wife's killer, set a standard for narrative sophistication that few mainstream films have tried to duplicate. The film forces us to consider the unreliability of human memory and our tendency toward self-deception, even as it thrills us with a captivating crime-noir story. An existential tragedy masquerading as a twisty bit of pulp fiction? Unforgettable.
諾蘭的《記憶碎片》講述了一個(gè)失憶男子尋找殺死妻子的兇手的故事。這個(gè)無(wú)懈可擊的謎題為嚴(yán)密復(fù)雜的敘事樹立了一個(gè)標(biāo)準(zhǔn)，主流電影中少有模仿者。這部引人入勝的黑色犯罪片迫使我們思考人類記憶的不可靠以及自欺欺人的傾向。看似轉(zhuǎn)彎抹角的粗俗小說，實(shí)則一出存在主義的悲劇。令人難忘。

– Eric D Snider, Freelance, US

（來(lái)源：中國(guó)日?qǐng)?bào)網(wǎng)雙語(yǔ)新聞微信 編輯：左卓 祝興媛 丹妮）