至今为止，2018年度最佳电影
随着漫长而炎热的暑假即将到来，你可以利用这个机会补补电影。以下是我们的首席影评人A·O·斯科特(A.O. Scott)和玛诺拉·达尔吉斯(Manohla Dargis)推荐的今年目前为止的最佳影片。
‘First Reformed’
《第一归正会》(First Reformed)
THE STORY This drama, written and directed by Paul Schrader, follows the Rev. Ernst Toller (Ethan Hawke), an upstate New York pastor, as he comes undone after meeting a fervent environmentalist and his wife.
剧情 这部剧情片由保罗·施拉德(Paul Schrader)撰写剧本并执导，讲述了纽约上州牧师恩斯特·托勒尔(Ernst Toller，伊桑·霍克[Ethan Hawke]饰)在与一名激进的环保主义者以及他的妻子相遇后信念出现动摇的故事。
A.O. SCOTT’S TAKE “It is the portrait of a soul in torment, all the more powerful for being so rigorously conceived and meticulously executed.” The movie “feels like a fresh discovery. More than that: an epiphany.”
A·O·斯科特的评价 “这是一个饱受折磨的灵魂的画像，严谨的构思和细致的执行让它更加充满力量。”这部电影“感觉像是一次新的发现。不仅如此，它是一次顿悟”。
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‘Zama’
《扎马》(Zama)
THE STORY Ostensibly the tale of Don Diego de Zama (played by Daniel Giménez Cacho), an 18th-century Spanish bureaucrat hoping, fruitlessly so far, for a transfer from a Paraguayan outpost, this is really an allegory about colonialism and power relations from the director Lucrecia Martel.
剧情 唐·迪戈·扎马(Don Diego de Zama，丹尼尔·希梅内斯·卡乔[Daniel Giménez Cacho]饰)是18世纪的一名西班牙官员，他希望从巴拉圭驻地被调往别处，却始终未能如愿。这其实是导演卢奎西亚·马特尔(Lucrecia Martel)的一则关于殖民主义与权力关系的寓言。
MANOHLA DARGIS’S TAKE The movie is “a cinematic marvel.” Ms. Martel, Argentina’s leading filmmaker, “has a wonderful eye and can generate tension as much from the arrangement of bodies in a frame and scene as from any spoken line.”
玛诺拉·达尔吉斯的评价 这部影片是“一场电影奇迹”。首屈一指的阿根廷导演马特尔“拥有美妙的眼光，可以通过身体在一个画面和场景中的排列产生张力，效果就像通过任何说出的台词一样”。
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‘The Guardians’
《守护者》(The Guardians)
THE STORY The guardians are a mother and daughter (played by the real-life mother and daughter Nathalie Baye and Laura Smet) who are running their French farm while the men are away fighting World War I. Xavier Beauvois directed.
剧情 守护者是一对母女(由现实生活中的母女纳塔莉·贝伊[Nathalie Baye]和劳拉·斯梅特[Laura Smet]饰演)，她们在法国经营着一座农场，而男人们正在远方的一战战场上厮杀。泽维尔·布瓦(Xavier Beauvois)执导。
A.O. SCOTT’S TAKE This is “a historical drama that doesn’t lose itself in decorative period detail, a beautifully photographed chronicle of rural existence that refrains from picturesque sentimentality and grinding misery.”
A·O·斯科特的评价 这是“一部历史剧情片，它没有让自己迷失在装饰性的时代细节里，一部用唯美的摄影讲述的乡村生活纪事，避免了露骨的感伤和沉重的惨痛”。
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‘The Death of Stalin’
《斯大林之死》(The Death of Stalin)
THE STORY The writer-director Armando Iannucci, best known for “Veep,” turns his satirical eye on Soviet-era political intrigue with a biting comedy about the various apparatchiks, including Khrushchev and Molotov, who use lies, threats and jokes to grab power after the event of the title. The stars include Steve Buscemi and Jeffrey Tambor (filmed before he was accused of and denied sexual misconduct).
剧情 以《副总统》(Veep)成名的编剧兼导演阿尔曼多·伊安努奇(Armando Iannucci)将冷嘲热讽的视线转向苏联时代的政治阴谋，带来一部辛辣的戏剧，描绘了包括赫鲁晓夫和莫洛托夫在内的各种官僚，他们利用谎言、威胁和笑话，在斯大林死后争夺权力。演员包括史蒂夫·布西密(Steve Buscemi)和杰弗里·塔伯(Jeffrey Tambor，在他被指责有不当性行为并予以否认之前完成了拍摄)。
MANOHLA DARGIS’S TAKE The movie is “a brilliantly arranged mix of savage one-liners, lacerating dialogue and perfectly timed slapstick” that is “by turns entertaining and unsettling, with laughs that morph into gasps and uneasy gasps that erupt into queasy, choking laughs.”
玛诺拉·达尔吉斯的评价 该片“巧妙地结合了毒舌段子与令人痛彻心扉的对话，还有时机恰到好处的滑稽打闹”，它“时而有趣、时而令人不安，大笑会慢慢变成倒吸一口冷气，然后又突然变成不安的、让人喘不过气来的大笑。”
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‘Won’t You Be My Neighbor?’
《与我为邻》(Won’t You Be My Neighbor?)
THE STORY This documentary from Morgan Neville (“20 Feet From Stardom”) looks at the career and legacy of the man behind “Mister Rogers’ Neighborhood.”
剧情 这部摩根·内维尔(Morgan Nevill，《离巨星20英尺》[20 Feet From Stardom])执导的纪录片审视了电视剧《罗杰斯先生的邻居》(Mister Rogers’ Neighborhood)幕后创作者的事业和遗产。
A.O. SCOTT’S TAKE Instead of trying to create a psychological study or explore secrets, the director “sets out to assess the meaning and impact of an onscreen persona. It is that emphasis — the earnest, critical attention to the public Mister Rogers and his legacy — that makes ‘Won’t You Be My Neighbor?’ feel like such a gift.”
A·O·斯科特的评价 导演没有试图创作一份心理学习作或探索秘闻，而是“致力于评估一个屏幕人格的意义和影响。正是这个重点——对公众面前的‘罗杰斯先生’及其遗产认真而审慎的关注——使得《与我为邻》感觉像是一份礼物”。
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‘Leave No Trace’
《叶落无痕》(Leave No Trace)
THE STORY In this feature by Debra Granik (“Winter’s Bone”), a military veteran and his adolescent daughter (Ben Foster and Thomasin Harcourt McKenzie) are discovered living off the grid, but institutional efforts to integrate them back into society forever change them in different ways.
剧情 在黛布拉·格兰尼克(Debra Granik，《冬天的骨头》[Winter’s Bone])的这部长片中，一位隐居世外的退伍军人和他正值青春期的女儿(本·福斯特[Ben Foster]与托马辛·哈克特·麦肯锡[Thomasin Harcourt McKenzie] 饰)被人们发现了，但是体制令他们融入社会的努力从各种方面永远改变了他们。
MANOHLA DARGIS’S TAKE “‘Leave No Trace’ invites you to simply be with its characters, to see and experience the world as they do. Empathy, the movie reminds you, is something that is too little asked of you either in life or in art.”
玛诺拉·达尔吉斯的评价 “《叶落无痕》邀你和它的角色一起，以他们的方式去看待和体验这个世界。这部电影提醒你，无论是生活还是艺术，它们对你要求的共情都太少了。”
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‘Let the Sunshine In’
《心灵暖阳》(Let the Sunshine In)
THE STORY From the director Claire Denis comes this portrait of a divorced Parisian artist (Isabelle, played by Juliette Binoche) with a string of failed relationships.
剧情 导演克莱尔·德尼(Claire Denis)描绘了一个离婚的巴黎艺术家(伊莎贝尔[Isabelle]，朱丽叶·比诺什[Juliette Binoche]饰)遇到一连串失败的恋情。
A.O. SCOTT’S TAKE “Ms. Binoche, effortlessly charismatic and ruthlessly unvain, has no investment in the character’s likability. She and Ms. Denis could not care less what you think of her. ‘Let the Sunshine In’ commits itself to taking Isabelle on her own terms. The challenge, for her and for the audience, is to figure out what those terms are.”
A·O·斯科特的评价 “比诺什不费吹灰之力就展现出人格魅力，但却毫无虚荣之感，并不努力让角色显得可爱。她和德尼一点也不关心你对她的看法。《心灵暖阳》努力接受伊莎贝尔的本色。她和观众面临的挑战是弄清楚这一本色到底是什么。”
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‘Lean on Pete’
《赛马皮特》(Lean on Pete)
THE STORY This coming-of-age tale from Andrew Haigh follows Charley (played by Charlie Plummer), an impoverished teenager newly arrived in Portland, Ore., where, escaping an unstable home life, he finds refuge at the track and comfort with a horse named Lean on Pete.
剧情 这部安德鲁·海(Andrew Haigh)执导的成长故事讲述了查利(Charley，查理·普拉默[Charlie Plummer]饰演)的故事，他是一个新近来到俄勒冈州波特兰的贫困青少年，为了逃避不稳定的家庭生活，他在赛马场里找到了避难所，在名为“依靠皮特”的赛马身上找到了安慰。
MANOHLA DARGIS’S TAKE With “a cosmic dimension to some of the most beautiful passages,” the film’s “visual beauty can seem at odds with the story’s ugliness but is as necessary as it is welcome because it gives you something to hold onto even as Charley slips further, grubbing meals, fending off violence.”
玛诺拉·达尔吉斯的评价 这部电影“在某些最美丽的段落中有着极为宽广的维度”，它的“视觉美感与故事的丑陋形成鲜明反差，但这是有必要的，而且是令人乐于接受的，因为它给了你一些能够紧紧抓住的东西，甚至当查利越来越落魄、到处觅食、抵抗暴力的时候也是如此。”
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