《纽约时报》2017年度最佳电影

The New York Times chief film critics, Manohla Dargis and A.O. Scott, share theirfavorite pictures of the year.

《纽约时报》首席影评人玛诺拉·达尔吉斯(Manohla Dargis)和A·O·斯科特(A.O. Scott)分享了他们今年最喜欢的影片。

Manohla Dargis

玛诺拉·达尔吉斯

In March, the producer-director Brett Ratner said that the website Rotten Tomatoes “was the worst thing we have in today’s movie culture,” directly blaming it for “the destruction of our business.” It isn’t common practice for industry influencers to go after critics, but sometimes desperation wins out. That perhaps also explains why in August, Harvey Weinstein wrote a column in Deadline flacking his much-delayed, soon-to-be flop “Tulip Fever,” admitting that “writing this article is probably akin to putting a target on my back.”

在3月，制片人兼导演布莱特·拉特纳(Brett Ratner)说，烂番茄(Rotten Tomatoes)网站“是当今电影文化中最恶劣的东西”，直指该网站“毁了我们这个行当”。对行业有影响力的人攻击影评的情况不常见，但有时候，最后胜出的是绝望。这也许解释了为什么今年8月，哈维·韦恩斯坦(Harvey Weinstein)在Deadline上写了一篇专栏文章，推销他那部延期已久、不久后将一败涂地的电影《狂热郁金香》(Tulip Fever)，承认“写这篇文章可能无异于引火烧身”。

In early October, Mr. Weinstein was accused by several women of sexual harassment and assault; in November, Mr. Ratner was facing serious allegations about sexual harassment and misconduct and it was evident that these two power brokers had been living in a very different world — almost a parallel universe, really — with very different concerns, rules and ethics than many of us. The charges against them and the allegations leveled against other influential men in the entertainment industry and outside it are the cultural story of 2017. They will remain the story for some time.

10月初，韦恩斯坦被多名女子指控性骚扰和侵犯;11月，拉特纳受到多项严重的性骚扰和行为不端指控，并且，这两名权力掮客显然一直生活在一个截然不同的世界，那里关心的很多问题、规则和道德，和我们的世界迥然不同。真的，几乎是一个平行宇宙。对他们的指控，以及对娱乐行业内外其他有影响里的人的控诉，是2017年的文化故事。在未来一段时间里，它们仍将是故事。

Perhaps that’s why I’m especially grateful for this year’s good and great movies. Filmmakers make movies despite often-crushing odds and some make movies while also struggling against entrenched prejudices. The revelations of the past few months — and the stories of victims who faded away — is further appalling proof of the extent of these biases. That there are so many outstanding movies each year despite those odds and those biases can feel like a miracle. This year all the plenty feels like a balm. Here are my top 10 favorite movies, all of which received a theatrical release or soon will.

或许这就是为什么我会尤其感激今年的电影佳作。尽管出现了各种有冲击力的突发事件，制片人们仍在拍电影，其中一些人还在与根深蒂固的偏见斗争。过去几个月以来的曝光事件——以及那些慢慢被淡忘的受害者的故事——更是有力证明了这些偏见之深。在各种事件和偏见之中，还能有那么多出色的电影，感觉像是一个奇迹。今年的所有种种都像是一种慰藉。以下是我最喜欢的十大电影，均为院线影片或即将上映。

1. ‘DUNKIRK’ (directed by Christopher Nolan) Most war movies are about winning. “Dunkirk” is about surviving. With peerless craft and technique, Mr. Nolan puts you in the air, on the sea and on the ground during a World War II rescue mission and, once the rescue is over, makes it harrowingly clear that the fight goes on.

1.《敦刻尔克》(Dunkirk，克里斯托弗·诺兰[Christopher Nolan]执导)。大多数的战争片都在讨论输赢，《敦刻尔克》讨论的是生存。用绝佳的手法和技巧，在二战的一场营救任务中，诺兰带你上天、入地、下海。而在营救任务结束后，影片却残忍地明确指出，战争仍在继续。

2. ‘EX LIBRIS: THE NEW YORK PUBLIC LIBRARY’ (Frederick Wiseman) In his wonderful, expansive and wholly absorbing documentary, Mr. Wiseman goes deep into the New York Public Library — down grand and humble halls, and past open and seeking faces — for a portrait of a cultural and social institution that is democracy incarnate.

2.《纽约公共图书馆》(Ex Libris: The New York Public Library，弗雷德里克·怀斯曼[Frederick Wiseman]执导)。在这部洋洋洒洒、令人着迷而绝妙的纪录片中，怀斯曼深入探索了纽约公共图书馆——走在宏伟而朴素的大厅里，看到一张张开明而渴求的面孔——为这个作为民主化身的文化和社会机构描绘了一幅肖像。

3. ‘FACES PLACES’ (Agnès Varda and JR) In this glorious, vividly personal work, Ms. Varda both wanders through France and into the past alongside the visual artist JR, meeting new friends and seeking out old. Ms. Varda is often described as one of the greatest female directors alive, which is true. She is also one of greatest.

3.《脸庞，村庄》(Faces Places，阿涅丝·瓦尔达[Agnès Varda]和JR执导)。在这部带有鲜明个人色彩的绚丽作品中，瓦尔达与视觉艺术家JR一起游历了法国，走进了过去。他们去认识新的朋友，也在寻找着回忆。人们常说瓦尔达是当今世上最伟大的女导演之一，这话没错。但她也是最伟大的导演之一。

4. ‘THE FLORIDA PROJECT’ (Sean Baker) Mr. Baker makes heartbreakers about people usually ignored by movies: a porn actress and the forgotten elderly woman she befriends in “Starlet”; two transgender female prostitutes in “Tangerine.” In “The Florida Project,” he tells a deeply American story of children and adults struggling at the margins of Disney World, creating a 21st-century “Grapes of Wrath” with psychedelic color and gobs of spit.

4.《佛罗里达计划》(The Florida Project，肖恩·贝克[Sean Baker]执导)。肖恩·贝克导演了一部令人心碎的作品，有关那些常常被电影忽视的人：一位色情片女演员，以及她在《小明星》(Starlet)中结识的一个被人遗忘的老年女性朋友，和两个在《橘色》(Tangerine)认识的变性女郎。在《佛罗里达计划》中，他讲述了一个极其美国的故事：迪士尼乐园边上的孩子和成人，用迷幻的色彩和一团团唾液挣扎着建起了一部21世纪的《愤怒的葡萄》。

5. ‘GET OUT’ (Jordan Peele) A meme generator, a social critique and a metaphor for our times — “Get Out” is all of these. It’s also an exceptional feature directorial debut. Mr. Peele does much that’s right and it’s worth remembering that what makes his movie memorable isn’t only what he says, but also how he makes meaning cinematically with finely calibrated timing, a sense of alienated space and an indelibly haunted, haunting image of the void.

5.《逃出绝命镇》(Get Out，乔丹·皮尔[Jordan Peele]执导)。这部电影出产了大量米姆，也是对社会的批判、对我们这个时代的比喻——《逃出绝命镇》讲的全是这些。这也是一个极其出彩的导演首秀片。乔丹·皮尔做得基本都不错，我们也应该记住，这部电影的难忘之处不光在于他说了什么，而是在于极佳的时机把握，疏离的空间感以及让人难以忘却、反复出现的空洞画面。

6. ‘LADY BIRD’ (Greta Gerwig) The anguished teenager has been a cinematic cliché since James Dean bellowed about being torn apart in “Rebel Without a Cause.” Ms. Gerwig’s tender, thrilling movie about an adolescent girl has plenty of drama: Our heroine throws herself from a car. Thereafter, she does more than simply survive; she becomes a person in a movie that insists female artistic self-creation isn’t a matter of sacrifice but of being.

6.《伯德小姐》(Lady Bird，格蕾塔·葛韦格[Greta Gerwig]执导)。自从詹姆斯·迪恩在《无因的反叛》中歇斯底里地喊出自己被四分五裂之后，痛苦的年轻人形象便成为了电影的老一套。格蕾塔·葛韦格拍的这部电影细腻而刺激，这位青春期女孩也非常有戏剧性：我们的女主角跳了车。因此，她不只是活着，在这个主张女艺术家的自我创造并不是牺牲而是一种存在的电影中，她成了一个活生生的人。

7. ‘OKJA’ (Bong Joon-ho) Filled with lapidary visual touches and pictorial splendor, Mr. Bong’s lovely, often funny and achingly soulful movie about a girl and her pig didn’t receive the theatrical release it deserved because it was bought by Netflix, which largely seems committed to shoveling product into its pipeline. That may be the future, but it’s infuriating that — like the villain in this movie — it can’t see past the bottom line.

7.《玉子》(OKJA，奉俊昊[Bong Joon-ho]执导)。奉俊昊用精确的视觉把握和饱和的图画，在这部有时搞笑、有时用情至深的可爱电影中讲述了一个女孩和她的小猪的故事。由于被Netflix收购，这部电影未能得到它赢得的院线公映机会，这家公司似乎一心想要把产品塞进自己的渠道。这或许就是未来，但令人生气的是——正如这部电影中的反面角色——他们不能看到账面以外的东西。

8. ‘PHANTOM THREAD’ (Paul Thomas Anderson) Two lives — and two perversities — become one in this ravishingly beautiful, often unexpectedly funny film, which traces the relationship between an eminent couture designer (a magnificent Daniel Day-Lewis) and his younger, surprising muse (Vicky Krieps). It’s a story about love and about work, and finally as much about its own creation as the romance onscreen.

8.《魅影缝匠》(Phantom Thread，保罗·托马斯·安德森[Paul Thomas Anderson]执导)。两个生命——两种倔强——在绝美的电影中交织成了一体，还时常有出人意料的笑料。影片讲述了一位有名的时装设计师(由出色的丹尼尔·戴-刘易斯饰演[Daniel Day-Lewis])和一位他意想之外的年轻缪斯(薇姬·克里普斯[Vicky Krieps]饰)之间的关系。这是一个讲述爱和工作的故事，也是一段大荧幕恋情的形成。

9. ‘A QUIET PASSION’ (Terence Davies) In this exquisitely directed biography of Emily Dickinson (a sensational Cynthia Nixon), Mr. Davies turns images into feelings. With delicacy and transporting camera movements, he brings you into Emily’s everyday life, touching close to the people that she deeply loved and into the rooms that they shared. He shows you the beauty, grace, light and shadow that flowed into her and right through her pen.

9.《宁静的热情》(A Quiet Passion，特伦斯·戴维斯[Terence Davies]执导)。在这部讲述艾米丽·迪金森(Emily Dickinson)的细腻传记片中，特伦斯·戴维斯把画面变作感情。用精致和镜头的切换移动，将你带入艾米丽的日常生活，走近了她深爱的人和他们曾一起住过的房间。他向你展示出了迪金森感受到的、再从笔尖流淌而出的美好、雅致与明暗。

10. ‘WONDER WOMAN’ (Patty Jenkins) I love all the movies on my list, but more than any other this year, “Wonder Woman” reminded me that we bring our entire histories when we watch a movie — our childhood reveries, our adolescence yearnings and adult reservations. I’ve always loved Wonder Woman in all her imperfection, including in the old TV show, and I loved her here because all my adult reservations were no match for this movie.

10.《神奇女侠》(Wonder Woman，帕蒂·詹金斯[Patty Jenkins]导演)我喜欢我清单上的所有电影，但在今年的所有电影中，《神奇女侠》让我最深刻地感触到这一点：我们观看一部电影时，会回想起全部的往事——童年的遐想，青春期的渴望和成人的疑惑。尽管神奇女侠并不完美，但我一直很喜欢她，包括她在旧电视剧中的形象。我喜欢这部电影中的她，是因为我成人的所有疑惑都比不上这部电影。

OTHER FAVORITES “After the Storm”; “The Big Sick”; “Bombshell: The Hedy Lamarr Story”; “Call Me by Your Name”; “The Challenge”; “Dawson City: Frozen Time”; “The Death of Louis XIV”; “Escapes”; “Girls Trip”; “Good Time”; “The Happiest Day in the Life of Olli Maki”; “I Am Not Your Negro”; “Jim & Andy: The Great Beyond — Featuring a Very Special, Contractually Obligated Mention of Tony Clifton”; “Kedi”; “The Lost City of Z”; “Mother!”; “Mudbound”; “My Journey Through French Cinema”; “Norman: The Moderate Rise and Tragic Fall of a New York Fixer”; “The Ornithologist”; “Patti Cake$”; “Personal Shopper”; “The Post”; “Professor Marston and the Wonder Women”; “Quest”; “Song to Song”; “Tonsler Park”; “Twin Peaks: The Return”; “The Woman Who Left”; “Wonderstruck.”

我喜欢的其他电影是：《比海更深》(After the Storm);《大病》(The Big Sick);《尤物：海蒂·拉玛传》(Bombshell: The Hedy Lamarr Story);《请以你的名字呼唤我》(Call Me by Your Name);《谁与争锋》(The Challenge);《道森市：冰封时光》(Dawson City: Frozen Time);《路易十四的死亡纪事》(The Death of Louis XIV);《逃离》(Escapes);《嗨翻姐妹行》(Girls Trip);《好时光》(Good Time);《奥利·马基一生中最快乐的一天》(The Happiest Day in the Life of Olli Maki);《我不是你的黑鬼》(I Am Not Your Negro);《金和安迪：伟大超越——金·凯瑞和安迪·考夫曼以及根据合同规定必须特别提及的托尼·克里夫顿》(Jim & Andy: The Great Beyond — Featuring a Very Special, Contractually Obligated Mention of Tony Clifton”);《伊斯坦布尔的猫》(Kedi);《迷失Z城》(The Lost City of Z);《母亲!》(Mother!);《泥土之界》(Mudbound);《我的法国电影之旅》(My Journey Through French Cinema);《诺曼》(Norman: The Moderate Rise and Tragic Fall of a New York Fixer);《鸟类学家》(The Ornithologist);《帕蒂蛋糕$》(Patti Cake$);《私人采购员》(Personal Shopper);《华盛顿邮报》(The Post);《马斯顿教授与神奇女侠》(Professor Marston and the Wonder Women);《探索》(Quest);《歌声不绝》(Song to Song);《汤斯勒公园》(Tonsler Park);《双峰：回归》(Twin Peaks: The Return);《离开的女人》(The Woman Who Left);《寂静中的惊奇》(Wonderstruck)。

A.O. Scott A·O·斯科特

Therewas a lot to feel bad about in 2017: plenty of reasons to take offense, get angry, go numb or feel sick to your stomach. If that sentence bummed you out, I’m sorry. (It was an epic year for dubious apologies, too.) But I’m not sorry about this list of the movies — a top 10 and a second 11 — that made me feel other, better ways. Not always cheerful, but enlightened, moved, surprised and gratified. In bad times, we tend to either ask too much or expect too little of art, pretending it might heal or save us, and dismissing it when it doesn’t. Its actual function is much simpler: it keeps us human. That’s what these movies did for me this year.

2017年有很多事情让人感觉很糟：你有足够的理由感觉受冒犯、生气、麻木或者觉得恶心。如果这句话让你心情不好，那么我很遗憾(这一年也出现了很多值得怀疑的道歉)。不过，我并不为这份电影清单而遗憾——它列出了前10名以及之后的11名——这些电影让我产生了其他更美好的感觉。不总是愉快的感觉，但它们让我觉得受启发、被打动，感到惊讶和满足。在艰难的时刻，我们对艺术往往要么要求太多，要么期待太少，以为它能治愈或拯救我们，而当它没有实现这些目标时，我们又会贬低它。但艺术的实际功能要简单得多：它让我们保持人性。这就是这些电影今年带给我的。

1. ‘THE FLORIDA PROJECT’

1.《佛罗里达计划》(The Florida Project)

The promise of an independent, socially conscious, aesthetically adventurous homegrown cinema is spectacularly redeemed in Sean Baker’s latest feature, which managed to be both the most joyful and the most heartbreaking movie of the year. Steeped in the gaudy materialism of Central Florida, animated by Brooklynn Prince’s gleeful spontaneity and anchored by Willem Dafoe’s deep craft, the movie already has a feeling of permanence. Ms. Prince’s Moonee has earned a place in the canon of American mischief alongside the likes of Eloise and Tom Sawyer.

这部肖恩·贝克的新作是一部独立、关注社会、具有美感的本土冒险电影，它是本年度最欢快、也最令人心碎的影片。它沉浸在佛罗里达中部华丽的物质主义之中，布鲁克琳·普林斯(Brooklynn Prince)欢乐的天性为它注入了活力，威廉·达福(Willem Dafoe)的高超演技为它奠定了基石，令影片给人一种永恒的感觉。普林斯饰演的穆妮(Moonee)则在美国的淘气鬼殿堂里赢得了一席之地，堪与埃洛伊丝(Eloise)和汤姆·索亚(Tom Sawyer)平起平坐。

2. ‘LADY BIRD’

2.《伯德小姐》(Lady Bird)

In a high school production of Shakespeare, Christine McPherson is cast as “the tempest.” “It’s the titular role!” says her once-and-future best friend — one of many odd, funny and perfectly apt lines in Greta Gerwig’s sort-of-autobiographical coming-of-age story. In its titular role (Christine prefers to be called Lady Bird), Saoirse Ronan is an utterly convincing American 17-year-old, and everyone else in her hectic world is just as sharply and sympathetically drawn. The film’s gentle, affirmative view of friendship, family life and adolescent sexuality is the opposite of sentimental.

在高中排演莎士比亚的作品时，克里斯汀·麦克弗森(Christine McPherson)被选中饰演“暴风雨”。“这个角色的名字和剧名一样!”她和她当时也是未来最好的朋友说。影片是格蕾塔·葛韦格的自传体成长故事，而这句话是片中诸多奇怪、有趣，而又极为机智的台词之一。西尔莎·罗南(Saoirse Ronan)饰演“伯德小姐”(克里斯汀喜欢别人这样叫她)，她是一个特别真实可信的美国17岁女孩，影片塑造了她的狂乱世界，其中所有人都得到了尖锐、同情的刻画。片中对友谊、家庭生活和青少年性爱持温和、赞许的态度，但是绝不多愁善感。

3. ‘GET OUT’

3.《逃出绝命镇》(Get Out)

Jordan Peele wrote and directed the inescapable movie of 2017, a work of biting anti-consensus filmmaking that broke box office records. Part of the film’s genius is the way it splinters the mythology of American racial healing and then reassembles the shards into something lacerating and beautiful. Possibly conceived as a mordant punch line to the Obama era, it may turn out to be the inaugural blast of insurgent cinema in the age of Trump.

乔丹·皮尔担任编剧并执导的这部作品是2017年绝对不容错过的电影，它打破了电影制作的共识，也打破了票房纪录。该片的一个天才之处在于，它粉碎了美国种族愈合的神话，然后将它的碎片重新组合成一种痛苦而又美丽的东西。它的目的可能是对奥巴马时代进行辛辣的讽刺，但最终可能会被证明是特朗普时代反叛电影的首次爆发。

4. ‘I AM NOT YOUR NEGRO’

4.《我不是你的黑鬼》(I Am Not Your Negro)

Raoul Peck’s documentary uses James Baldwin’s words to paint a portrait not only of the writer in his time, but also of the ideas that stretch beyond his work into our own troubled moment. Baldwin wrote about American racism — about the lethal and insidious power of whiteness to distort the nation’s ideals and threaten its humanity — with unequaled vigor, humor and insight. The movie is painful because the truth is painful.

拉乌尔·佩克(Raoul Peck)的这部纪录片使用詹姆斯·鲍德温(James Baldwin)的语言，不仅描绘了那个时代的这位作家，也展现了他的思想，那些思想超越了他的作品，延伸到我们现在这个充满困境的时代。鲍德温以无与伦比的活力、幽默和洞察力讲述美国的种族主义，他认为，白人危险而阴暗的力量扭曲了这个国家的理想，威胁到了人性。这部电影令人痛苦，那是因为真相就是令人痛苦的。

5. ‘FACES PLACES’

5.《脸庞，村庄》(Faces Places)

But the truth can also be delightful. Which isn’t to say that strong, bitter emotions don’t have a place in the latest auto-documentary by Agnès Varda. In her late 80s, accompanied by a thirtyish artist named JR (who is also credited as director), Ms. Varda roams the French countryside, searching out the remnants of a once-vibrant working-class tradition. Contemplating some of the sorrows in her own past and the precariousness of the European present, she keeps gloom at bay with her resilient faith in the power of art to conserve and expand human dignity. Every second of this movie proves her right.

但真相也是可以令人愉快的。然而这并不意味着阿涅丝·瓦尔达的这部最新自传体纪录片中不存在强烈的痛苦。接近90高龄的瓦尔达在一个30多岁、名叫JR的艺术家(他也被列为本片导演)的陪伴下，在法国的乡村漫游，寻找曾经充满活力的工人阶级传统的遗迹。她反思生命中的伤心往事，以及欧洲现在的动荡局面，然而她始终坚信艺术的力量可以保护并且扩展人类的尊严，因此没有沉浸在失望情绪之中。这部电影的每一秒钟都证明她是对的。

6. ‘PHANTOM THREAD’

6.《魅影缝匠》(Phantom Thread)

There are movies that satisfy the hunger for relevance, the need to see the urgent issues of the day reflected on screen. Paul Thomas Anderson’s eighth feature — which may also be Daniel Day-Lewis’s last movie — is emphatically and sublimely not one of them. It awakens other appetites, longings that are too often neglected: for beauty, for strangeness, for the delirious, heedless pursuit of perfection. I’ve only seen this film once (it opens at Christmastime), and I’m sure it has its flaws. I will happily watch it another dozen times until I find them all.

人们需要看到当今的重大问题被反映到银幕上，有些电影就是为了满足对电影反映现实的这种渴望。而保罗·托马斯·安德森的第八部故事片——它也可能是丹尼尔·戴-刘易斯的最后一部电影——绝对不是这样。它唤醒了人们对电影的其他欲望与渴望：美、新奇，以及对完美疯狂肆意的追求，而这些东西往往遭到忽视。这部电影我才看了一遍(它将在圣诞节期间上映)，我确信它有缺点。我会再愉快地看上十几遍，直到找出所有的缺点。

7. ‘A FANTASTIC WOMAN’

7.《普通女人》(A Fantastic Woman)

Sebastián Lelio’s portrait of Marina, a transgender woman mourning the death of her lover and facing the hostility of his family, is at once bluntly realistic and ripely melodramatic, polemical and poetic, pointed and, well, fantastical. Daniela Vega, who plays Marina, doesn’t show up on screen right away, but once she does (singing a torch song in a nightclub in Santiago, Chile), the camera never leaves her for long. What it finds in the planes of her face is some of the glamour of old-time movie stars — hints of Greta Garbo, Joan Crawford, Anna Magnani and Lauren Bacall — and even more of the emotional authenticity that made them stars in the first place.

在塞巴斯蒂安·莱利奥(Sebastián Lelio)执导的这部影片中，跨性别女人玛丽娜(Marina)在哀悼去世情人的同时，还要面对他的家庭的敌意。该片有时十分现实，有时又夸张、雄辩，富于诗意，既直截了当，又天马行空。饰演玛丽娜的丹妮拉·维加(Daniela Vega)一开始并没有出现在银幕上，但当她亮相之后(在智利圣地亚哥的一家夜总会里唱了一首火热的歌)，摄像机就再也没有长时间离开过她。在她脸上，你可以看到一些昔日电影明星的魅力——她身上有葛丽泰·嘉宝(Greta Garbo)、琼·克劳馥(Joan Crawford)、安娜·玛格纳尼(Anna Magnani)和劳伦·白考尔(Lauren Bacall)的影子——你甚至可以看到令她们能成为明星的那种情感上的真诚。

8. ‘GRADUATION’

8.《毕业会考》(Graduation)

The kid-goes-to-college movie has emerged as a minor American genre. This year’s examples include “Lady Bird,” “The Meyerowitz Stories (New and Selected)” and “Brad’s Status,” all of which offer gently comical perspectives on a familiar rite of passage. Cristian Mungiu, the Romanian director of “4 Months, 3 Weeks and 2 Days” and “Beyond the Hills,” offers a grimmer view. A provincial doctor wants his daughter to attend university in England, and is willing to compromise his ideals to ensure that she can. A family drama and an ethical thriller, Mr. Mungiu’s film is an indictment of the everyday corruption that festers not only in Romania, but everywhere selfishness has become the supreme social value.

关于“孩子上大学”的电影已经成为美国电影中的一个小类型。今年的例子包括《伯德小姐》、《迈耶罗维茨的故事》(The Meyerowitz Stories [New and Selected])和《你好布拉德》(Brad’s Status)，这些电影都是从轻喜剧的角度讲述这个大家熟悉的人生过渡阶段。曾执导《四月三周两天》(4 Months, 3 Weeks and 2 Days)和《山之外》(Beyond the Hills)的罗马尼亚导演克里斯蒂安·蒙吉(Cristian Mungiu)提供了一个更加令人沮丧的视角。一名外省医生希望女儿去英国上大学，为了确保女儿能去，他愿意牺牲自己的理想。蒙吉的这部电影既是一部家庭片，也是一部道德惊悚片，它是对日常腐败的控诉，这种腐败不仅存在于罗马尼亚，而且滋生于任何一个以自私自利为社会最高价值的地方。

9. ‘A QUIET PASSION’

9.《宁静的热情》(A Quiet Passion)

But not so quiet, really. As Emily Dickinson, Cynthia Nixon is forthright, sometimes abrasive, often funny and never less than thrilling company. Terence Davies’s blithely unconventional biopic glides through Dickinson’s life with poetic compression and musical grace, illuminating both her temperament and the austere, intellectually intense 19th-century New England environment that nurtured and constrained her gifts.

其实它并不宁静。与埃米莉·迪金森一样，辛西娅·尼克松(Cynthia Nixon)是一个直率、有时粗暴、往往很有趣、绝对令人兴奋的伙伴。特伦斯·戴维斯的这部非传统传记片轻松愉快，以诗意的凝练和音乐般的优雅回顾了迪金森的一生，展示了她的性格特质以及19世纪新英格兰严肃、知性的环境，那个环境既孕育也限制了她的天赋。

10. ‘WAR FOR THE PLANET OF THE APES’

10.《猩球崛起3：终极之战》(War for the Planet of the Apes)

Never has human extinction seemed so richly merited, and rarely has digital ingenuity been put to such sublime use. The third installment in the revived series is an epic of national founding, with echoes of the Aeneid and the Book of Exodus. Somber and exciting, the film, directed by Matt Reeves, shows how large-scale action filmmaking can explore political and moral matters without bogging down in pretentiousness. Andy Serkis remains the key to the enterprise. His performance as Caesar, spanning three movies, is one of the great feats of acting in modern movies, a breathtaking fusion of technological magic and solid thespian craft.

人类的灭绝从来没有显得如此罪有应得，数字技巧也很少用于如此崇高的目的。这个翻拍系列的第三部是关于国家建立的史诗，让人联想起《埃涅阿斯纪》(Aeneid)和《出埃及记》(Book of Exodus)。影片由马特·里夫斯(Matt Reeves)执导，既沉重又刺激，展示了大场面动作电影可以在不影响视觉效果的前提下探索政治和道德问题。安迪·瑟基斯(Andy Serkis)依然是本片的关键。他在三部影片中都饰演凯撒，他的表演是现代电影中最伟大的成就之一，将数字技术与可靠的戏剧表演技巧融合到了一起，令人叹为观止。

AND ALSO (in alphabetical order): “The Bad Batch”; “BPM (Beats Per Minute)”; “Call Me by Your Name”; “Dawson City: Frozen Time”; “I Called Him Morgan”; “Logan Lucky”; “The Meyerowitz Stories (New and Selected)”; “Mudbound”; “Okja”; “The Post”; “The Shape of Water.”

我喜欢的电影还包括(按字母顺序)：《劣质爱情》(The Bad Batch);《每分钟120击》(BPM [Beats Per Minute];《请以你的名字呼唤我》;《道森市：冰封时光》;《我叫他摩根》(I Called Him Morgan);《神偷联盟》(Logan Lucky);《迈耶罗维茨的故事》;《泥土之界》;《玉子》(Okja);《华盛顿邮报》;《水形物语》(The Shape of Water)。