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更新时间:2018/12/22 9:23:35 来源:纽约时报中文网 作者:佚名

The Best Movies of 2018



What Could Have Been


Some of the most inspiring films I watched this year were made by women who wore long skirts and high-button boots and couldn’t yet vote for president. You can find some of their work in “Pioneers: First Women Filmmakers,” a recently released DVD box set from Kino Lorber and the Library of Congress. (The Blu-ray version has more titles.) Some of these movies were featured in a program at Brooklyn Academy of Music that ran in July, one of several surveys that this vital arts center has dedicated to forgotten and overlooked female directors.

今年我看的一些最鼓舞人心的电影,是由穿着长裙和纽扣高筒靴、还不能投票选总统的女人们制作的。你可以在《先驱:第一批女性电影人》(Pioneers: First Women Filmmakers)中找到她们的一批作品,这套DVD不久前由Kino Lorber公司和国会图书馆(Library of Congress)发行(蓝光版中会有更多片目)。其中一些电影于7月在布鲁克林音乐学院的一个项目中放映,这个重要的艺术中心发起了一些关于被遗忘和忽略的女性导演的调查,该项目也是其中之一。

The more I watched these films from the beginning of the 20th century, the more I began to think about the movie world — the Hollywood — that could have been. By the late 1920s, women were largely shut out of directing in the American industry until the mid-1960s. If film pioneers like Lois Weber and Alice Guy Blaché had continued, it’s possible that a radically different movie world might have emerged. In my alt-Hollywood fantasy, female and male filmmakers would have worked side by side, perhaps giving us unimagined stories and heroines. That history in turn might have laid the foundation for an equitable present rather than an industry defined by entrenched sexism.

这些电影来自20世纪初,我愈看就愈是开始思考:电影世界——好莱坞——本来有可能是什么样的。从1920年代后期,直到1960年代中期,女性在很大程度上被排除在美国电影业的导演行列之外。如果像露易丝·韦伯(Lois Weber)和爱丽丝·盖伊·布兰切(Alice Guy Blaché)这样的电影先驱继续拍下去,那么可能会出现一个截然不同的电影世界。在我的架空版好莱坞幻想中,女性和男性电影人会并肩工作,也许会为我们带来无法想象的故事和女主角。反过来,这段历史可能会为一个更公平的今天奠定基础,而不是像现在这样,让根深蒂固的性别歧视定义这个行业。

This inequity shows no real signs of abating, presumably because sexism has never damaged the movie industry’s bottom line. As of this writing, only a couple of the top 20 movies at the domestic box office have female-driven stories; in a few titles, the prominent female character shares the screen either as part of a romantic couple or a family. None of the 20 were directed by women. And then there is the continuing fallout from the Harvey Weinstein allegations and the #MeToo movement, which my colleague Brooks Barnes reported in November are greatly contributing to a “profound malaise” in the movie capital.

这种不公平现象没有显示出减弱的迹象,可能是因为性别歧视从未给好莱坞的账面构成过什么损害。截至本文撰写时,国内票房前20部电影中,只有几部是以女性为主角的故事;在一些影片中,重要的女性角色不是作为情侣就是作为家人登场。20部影片中没有一部是由女性执导的。然后,不断有关于哈维·韦恩斯坦(Harvey Weinstein)的指控和#MeToo(我也是)运动的持续影响传来,我的同事布鲁克斯·巴恩斯(Brooks Barnes)在11月报道,它们在很大程度上导致了这座电影之都的“深深的不安”。

“Yap, yap — go back to your kennels,” a movie producer said of Time’s Up, the advocacy group formed in January by producers like Shonda Rhimes and performers like Reese Witherspoon to fight workplace sexual harassment. Barnes was startled by the movie producer’s comment. I was only surprised that he had been honest, even off the record. This producer is just one power broker, but he represents a mind-set that is responsible for mainstream industry that feels both creatively and ethically bankrupt. At this point, I wonder if it would be better for the powerful women in Time’s Up to forget about changing the old industry and just burn it down so they can rebuild it.

“去,去——回你们的狗窝去,”一名电影制片人这样评价“是时候了”(Time's Up)——由珊达·莱梅斯(Shonda Rhimes)等制片人和瑞茜·威瑟斯彭(Reese Witherspoon)等演员组成的倡导组织,旨在打击工作场所的性骚扰。巴恩斯被这个电影制片人的言论吓了一跳。我惊讶于他是诚实的,虽然是在不公开身份的情况下。这个制片人只是一个权力掮客,但他代表的一种思维方式,是这个主流产业的创造力和道德破产的主因。因此,我想,如果“是时候了”中的强大女人们不去改变这个老旧的行业,而是将其摧毁,对其彻底重建,这样是不是更好呢?

This malaise has other sources, including the effect Netflix and Amazon are having on the big studios. Then again, these same studios — with their sequels and superheroes — are busily doing their part to turn American cinema into a gushing stream of uniformity. This seems unlikely to change especially given that in July the Walt Disney Company solidified its plans to buy Fox, thereby destroying one of the studios that created Hollywood. Opponents of the proposed deal include the Writers Guild of America West, which severely criticizedthe merger for furthering the media consolidation that has drastically limited competition.

这种不安气氛还有其他来源,包括Netflix和亚马逊(Amazon)对大片厂的影响。然而,同样是这些制片公司——以及他们推出的各种续集和超级英雄——正在忙着尽自己的一份力量,将美国电影变成一个千篇一律的世界。这个趋势似乎不太可能扭转,特别是在7月,沃尔特·迪士尼公司(Walt Disney Company)加强了收购福克斯(Fox)的计划,从而将摧毁又一家参与缔造好莱坞的制片公司。该项拟议中的交易的反对者包括美国西部作家协会(Writers Guild of America West),它严厉批评这次交易进一步推动了媒体合并,极大地限制了竞争。

The proof of these limits is evident at the box office, which in recent years has been dominated by branded product, much of it owned by Disney. The studio again leads the box office, having thus far gobbled up a staggering 27 percent of the domestic market share. (A decade ago, it released more features and had less market share.) You can like Disney movies and still believe that oligopoly is bad for movie culture. The same is true of Netflix, which has been showing its muscle in the movie world to feed its platform and which is where Joel and Ethan Coen’s “The Ballad of Buster Scruggs” is currently crammed among its thousands of good, bad and indifferent titles — all ready to watch, pause, forget.

这些限制在票房中得到了明显证据,近年来票房一直由品牌产品主导,其中大部分由迪士尼所有。这家片厂再次在票房中领先,迄今已在国内市场份额中占据了惊人的27%。(十年前,它发行的影片更多,市场份额却更少。)你可以在喜欢迪士尼电影的同时,认为寡头垄断对电影文化是不利的。Netflix也是如此,它一直在电影世界展示着力量,以为自己的平台提供内容,在这个平台上,乔尔和伊桑·科恩(Joel and Ethan Coen)的《巴斯特·斯克鲁格斯的歌谣》(The Ballad of Buster Scruggs)目前正和其他成千上万的好、坏、不好不坏的影片一起,等待被人观看、暂停、遗忘。

My 10 favorite movies of the year, in order:


1. ‘Roma’ (Alfonso Cuarón)

1.《罗马》(Roma,阿方索·卡隆[Alfonso Cuarón])

Monumentality is intrinsic to Cuarón’s memory piece, which, alas, means that when it begins streaming on Netflix, viewers won’t be able to fully see — or experience — its wonder. (Stream it on Netflixbeginning Dec. 14.)


2. ‘Burning’ (Lee Chang-dong)

2.《燃烧》(Burning,李沧东[Lee Chang-dong])

In this breath-catchingly lovely, terrifying movie, a South Korean woman dances in the fading light as two unworthy men sit, watch and slowly burn down their world.


3. ‘Shoplifters’ (Hirokazu Kore-eda)

3.《小偷家族》(Shoplifters,是枝裕和[Hirokazu Kore-eda])

By turns delicate and brutal, this Japanese drama about a struggling ragtag family is perfectly observed from its first scene to its last, and is a career high point for its director.


4. ‘Zama’ (Lucrecia Martel)

4.《扎马》(Zama,卢奎西亚·马特尔[Lucrecia Martel])

Set in the New World in the 18th century, this wonderfully eccentric movie centers on an official of the Spanish empire brought low by hubris and the laughter of women. (Stream it on Amazon; rent it on Amazon, iTunes, YouTube, Google Play and Vudu.)

这部奇妙古怪的电影发生在18世纪的新世界,以一个被狂妄和女人的笑声所羞辱的西班牙帝国官员为中心。(在亚马逊流媒体上播放;可在亚马逊、iTunes、YouTube、Google Play和Vudu上租借。)

5. ‘Happy as Lazzaro’ (Alice Rohrwacher)

5.《幸福的拉扎罗》(Happy as Lazzaro,阿莉切·罗尔瓦赫尔[Alice Rohrwacher])

Neorealism meets magical realism in this marvelous, surprising movie about an impoverished Italian man, his sprawling tribe and a radically transformed way of life. (Stream it on Netflix.)


6. ‘BlacKkKlansman’ (Spike Lee)

6.《黑色党徒》(BlacKkKlansman,斯派克·李[Spike Lee])

For much of this startling story, set in Colorado Springs in the early 1970s, Lee expertly takes you into a shocking American past that harrowingly leads right back to its agonized present. (Rent it on Amazon, iTunes, YouTube, GooglePlay and Vudu.)

这个令人吃惊的故事大部分以上世纪70年代初的科罗拉多斯普林斯为背景,斯派克·李讲述的一则惊人的美国往事,痛苦地走向了令人倍感折磨的当下。(可在亚马逊、iTunes、YouTube、Google Play和Vudu上租借。)

7. ‘First Reformed’ (Paul Schrader)

7.《第一归正会》(First Reformed,保罗·施拉德[Paul Schrader])

A deeply moving exploration of faith in the fallen world, Schrader’s triumph feels like both the summation, and the galvanizing beginning, of an extraordinary cinematic career. (Stream it on Amazon; rent it on Amazon, iTunes, YouTube, Google Play and Vudu.)

在堕落的世界里对信仰的一次感人至深的探索,保罗·施拉德的胜利感觉既像是一段非比寻常的电影生涯的总结,又像是它急切的开端。(在亚马逊流媒体上播放;可在亚马逊、iTunes、YouTube、Google Play和Vudu上租借。)

8. ‘The Death of Stalin’ (Armando Iannucci)

8. 《斯大林之死》(The Death of Stalin,阿尔曼多·伊安努奇[Armando Iannucci])

A blazingly funny writer, Iannucci has become a great director of actors, who with slow burns and pinpoint timing turn a political burlesque into a terrifyingly timely cautionary tale. (Rent it on Amazon, iTunes, YouTube, Google Play and Vudu.)

伊安努奇已经从一个令人捧腹的作家演变成伟大的导演,通过让人半天才回过神来的讥讽和精准的时机把握,把一场政治滑稽戏变成了应景得吓人的警世故事。(可在亚马逊、iTunes、YouTube、Google Play和Vudu上租借。)

9. ‘Monrovia, Indiana’ (Frederick Wiseman)

9.《印第安纳州蒙罗维亚》(Monrovia, Indiana,弗雷德里克·怀斯曼[Frederick Wiseman])

In this quietly political Trump-era documentary, Wiseman offers a long, searching look at a small American town where homespun charm exists side by side with steadfast isolationism.


10. ‘Colophon (for the Arboretum Cycle)’ (Nathaniel Dorsky)

10.《山水画卷》(Colophon[For the Arboretum Cycle],纳撒尼尔·多斯基[Nathaniel Dorsky])

With their gently nodding, brilliantly colored flowers and shifting shadows, Dorsky’s heart-soaringly beautiful films are reminders that cinema is also about light and form.


Honor Roll


“At Eternity’s Gate” (see it for Willem Dafoe and the lovely light); “Black Panther” (there’s a lot here, but mostly there is Michael B. Jordan, who can do anything); “Bodied” (rapping and identity politics); “Cold War”; “The Day After”; “Destroyer” (Nicole Kidman badassery); “Did You Wonder Who Fired the Gun?” (righteous anger); “Eighth Grade”; “Golden Exits” (Alex Ross Perry’s sandpaper touch is very fine); “The Guardians”; “Hale County This Morning, This Evening”; “If Beale Street Could Talk”; “Custody”; “Isle of Dogs”; “The King”; “Lean on Pete”; “Leave No Trace”; “Lizzie” (good acting with 40 whacks); “Minding the Gap”; “The Other Side of the Wind” (imperfect Orson Welles is still Orson Welles); “RBG” (the OG); “The Rider”; “Shoah: Four Sisters”; “The Sisters Brothers”(John C. Reilly); “Skate Kitchen” (girls + skateboarding); “Sorry to Bother You”; “A Star Is Born” (too much Bradley Cooper, but I love it); “Support the Girls” (Regina Hall deserves more roles like this); “The Third Murder” (more Kore-eda); “Three Identical Strangers” (a must-see); “Vox Lux” (sick, but in a good way); “Western” (a finely calibrated look at men and work).

《在永恒的门口》(At Eternity’s Gate)(冲着威廉·达福[Willem Dafoe]和美妙的用光去的);《黑豹》(Black Panther)(有很多可看之处,但主要是无所不能的迈克尔·B·乔丹[Michael B. Jordan]);《成形》(Bodied)(说唱和身份政治);《冷战》(Cold War);《之后》(The Day After);《无间炼狱》(Destroyer)(妮可·基德曼饰演剽悍形象);《你想过是谁开的枪吗?》(Did You Wonder Who Fired the Gun?)(正直的愤怒);《八年级》(Eighth Grade);《黄金出口》(Golden Exits)(亚历克斯·罗斯·佩里[Alex Ross Perry]的打磨非常细腻);《女守卫们》(The Guardians);《黑尔郡的日与夜》(Hale County This Morning, This Evening);《假若比尔街能够讲话》(If Beale Street Cou ld Talk);《监护风云》(Custody);《犬之岛》(Isle of Dogs);《国王》(The King);《赛马皮特》(Lean on Pete);《不留痕迹》(Leave No Trace);《丽兹》(Lizzie)(砍了40下的好演技);《滑板少年》(Minding the Gap);《风的另一边》(The Other Side of the Wind)(不完美的奥逊·威尔仍是奥逊·威尔斯);《鲁斯·巴德·金斯伯格》(RBG)(OG大法官);《骑士》(The Rider);《四姐妹》(Shoah: Four Sisters);《希斯特斯兄弟》(The Sisters Brothers)(约翰·C·赖利[John C. Reilly]);《滑板厨房》(Skate Kitchen)(少女 + 滑板);《抱歉打扰》(Sorry to Bother You);《一个明星的诞生》(A Star Is Born) (太多布莱德利·库珀[Bradley Cooper]了,但我喜欢);《支持女孩们》(Support the Girls)(雷吉娜·赫尔[Regina Hall]理应得到更多这样的角色);《第三度杀人》(The Third Murder)(更多是枝裕和[Hirokazu Kore-eda]);《孪生陌生人》(Three Identical Strangers)(必看)《光之声》(Vox Lux)(病态,不过是好的那种);《西部》(Western)(对人与劳动的一次精心拿捏的审视)。


A·O·斯科特(A. O. Scott)

Starting With Vision


1. ‘Monrovia, Indiana’ (Frederick Wiseman); ‘Bisbee ’17’ (Robert Greene); ‘Hale County This Morning, This Evening’ (RaMell Ross); ‘Minding the Gap’ (Bing Liu)

1.《印第安纳州蒙罗维亚》(弗雷德里克·怀斯曼);《比斯比 '17》(Bisbee ’17,罗伯特·格林[Robert Greene]);《黑尔郡的日与夜》(拉梅尔·罗斯);《滑板少年》(刘冰)

A four-way tie for first place may look like wanton indecisiveness, but to me these lyrical, visionary documentaries add up to an indelible composite portrait of America right now. At a time when we tend to see ourselves and our fellow citizens as sociological stereotypes and ideological clichés, these highly personal films suggest that a different way of telling the American story — the crazy multiplicity of American stories — may still be possible.


Not because the filmmakers offer visions of consensus, but precisely because each one digs deep into the conflicts and contradictions that run through every neighborhood, household and individual heart. “Monrovia,” filmed in a tiny, mostly white heartland town, is the latest work from an 88-year-old master. “Hale County,” set in a rural mostly black part of Alabama, and “Minding the Gap,” set in a mixed Illinois industrial city, are first features by skilled and intuitive young directors. “Bisbee ’17,” named for a mining town in Arizona, is a powerful midcareer foray into historical memory and political strife.

这不是因为导演们给出的是一种一致的视象,而恰恰是因为每部影片都深深挖掘了贯穿每一个社区、每一户家庭和每一颗心灵的冲突与矛盾。拍摄于一座以白人为主的美国腹地小镇的《印第安纳州蒙罗维亚》是一位88岁大师的最新作品。《黑尔郡的日与夜》以黑人居多的阿拉巴马乡村为背景,以一座多种族混合的伊利诺伊州工业城市为背景的《滑板少年》则是富于技巧和直觉的年轻导演的首部长片。《比斯比 '17》以亚利桑那州的一个矿业镇命名,是在生涯中期的导演对历史记忆和政治斗争的一次尝试。

These movies touch on issues that often come up in journalistic hot takes or political broadsides, including race, masculinity, inequality and the changing nature of work. Each one forces you to suspend judgment, and to rethink what you thought you knew. They are acts of witness but also, as great documentaries must be, works of art, reminders that the job of the artist and the duty of the citizen are fundamentally the same: to pay attention. (Stream “Minding the Gap” on Hulu.)


2. ‘Happy as Lazzaro’ (Alice Rohrwacher)


Rohrwacher’s third feature starts out as a simple fable of rural Italian life, centered on a simple young man living among fellow sharecroppers in an isolated hamlet. By the time he reaches the big city, about halfway in, the film has already infused neorealism with an old, strange magic. By the end it has transcended all categories and conventions and revealed something about the tragedy of modern life that seems almost unspeakably ancient. (Stream it on Netflix.)


3. ‘First Reformed’ (Paul Schrader)


Ethan Hawke, as a Protestant minister staring into the abyss of his own soul and the gathering darkness of climate-change catastrophe, gives a performance that is at once unassuming and overpowering. Schrader distills the spiritual and cinematic preoccupations that have defined his career as a writer (“Taxi Driver”) and director (“American Gigolo”) into an austere and elegant study in metaphysical and political anguish. Yes, the movie is topical. Among the topics under discussion are the meaning of human existence and the survival of the planet. (Stream it on Amazon; rent it on Amazon, iTunes, YouTube, Google Play and Vudu.)

伊桑·霍克(Ethan Hawke)饰演一位新教牧师,他凝视着自己灵魂的深渊,以及气候变化灾难聚集起来的黑暗,做出了一次低调又浓烈的表演。施拉德是编剧(《出租车司机》)也是导演(《美国舞男》),他把定义其职业生涯的精神和电影专注,提炼为对形而上的、政治的苦恼所做出的一种朴素而优雅的研究。是的,这部电影是话题性的。讨论的议题包括人类存在的意义,以及地球的生存。(在亚马逊流媒体上播放;可在亚马逊、iTunes、YouTube、Google Play和Vudu上租借。)

4. ‘Private Life’ (Tamara Jenkins)

4.《私人生活》(Private Life,塔玛拉·詹金斯[Tamara Jenkins])

A movie about liberal-minded, literary-bohemian heterosexual New Yorkers that finds something new to say surely counts as a minor miracle. A comedy that is sharp but not cruel, a drama that is poignant but not sentimental, an informative and unflinching look at fertility treatments — “Private Life” is all those things. And, maybe most of all, it is a wonder cabinet of incisive, unshowy performances, from Molly Shannon, John Carroll Lynch, Kayli Carter, Paul Giamatti and above all the splendid and fearless Kathryn Hahn. (Stream it on Netflix.)

一部关于自由主义的、文学-波西米亚式的、异性恋的纽约人的电影,居然能找到一些新鲜的角度,不啻为一个小小的奇迹了。这是一部辛辣却不残酷的喜剧,一部令人心酸却并不伤感的戏剧,一部探讨生育治疗的信息丰富而无所畏惧的电影——这些统统可以放在《私人生活》身上。而且,也许最重要的是,这是一个神奇的陈列柜,里面集中了莫莉·香侬(Molly Shannon)、约翰·卡罗尔·林奇(John Carroll Lynch)、凯莉·卡特(Kayli Carter)、保罗·贾马蒂(Paul Giamatti),尤其是出色、无畏的凯瑟琳·哈恩(Kathryn Hahn)等人淋漓尽致却并不花哨的表演。(在Netflix流媒体上播放。)

5. ‘Roma’ (Alfonso Cuarón)


You could almost live inside Cuarón’s intricate, pulsing wide-screen compositions, borne along on the movements of his sweeping, swooping camera. A lot of people do live here, in a world conjured from the director’s own memories of growing up in the wealthy Mexico City neighborhood that gives the film its name. In no great hurry to make a point or advance a plot, he takes in Mexican politics, changing family dynamics and, above all, the dreams and disappointments of a young housekeeper named Cleo, played with heart-stopping candor and sly elegance by Yalitza Aparicio. (Stream it on Netflix beginning Dec. 14.)

伴随着卡隆拂掠、俯冲的镜头运动,你几乎亲身进入了那繁复、勃动的宽银幕构图里。许多人的确住在这里,这是一个根据导演自己在墨西哥城富人区(电影因其得名)的成长记忆变出来的世界。他并不急于阐明观点或者推进情节,而是将墨西哥的政治、变化中的家庭关系融入其中,尤其重要的是一个名叫克莉奥的年轻管家的梦想与失望,雅利扎·阿帕里西奥(Yalitza Aparicio)用惊人的坦诚和诡秘的优雅饰演了这个角色。(从12月14日开始,在Netflix流媒体上播放。)

6. ‘Let the Sunshine In’ (Claire Denis)

6.《心灵暖阳》(Let the Sunshine In,克莱尔·德尼[Claire Denis])

The first time I saw this piquant, episodic chronicle of a middle-aged artist’s bad romances, I was puzzled and a little irritated. Juliette Binoche’s character was so abrasive! The men she was with were so awful! But I still couldn’t look away. A second viewing knocked me out, and I kept coming back with new questions. How can something so true to the rhythms of real life and the zigzags of an individual temperament still hold together as a movie? How can a movie be so artful and seem so artless? How can a film about such thoroughly tiresome people be one that I can’t imagine ever getting tired of watching? (Stream it on Hulu; rent it on Amazon, iTunes, YouTube, Google Play and Vudu.)

第一次看到这部电影时——对一个中年艺术家的烂桃花史的辛辣、松散的叙述——我感到困惑,也有点恼火。朱丽叶·比诺什(Juliette Binoche)的角色太糙了!和她在一起的男人太讨厌了!但我还是忍不住看下去。第二次再看的时候,我震惊了,不断冒出新的问题来。怎么可能一方面如此真实地反映现实生活的节奏和一个人性情的反复,却还能连成一部电影?一部电影怎么做到如此不自然又如此自然?一部关于如此令人讨厌的人的电影,我居然欲罢不能?(在Hulu流媒体上播放;可在亚马逊、iTunes、YouTube、Google Play和Vudu上租借。)

7. ‘Can You Ever Forgive Me?’ (Marielle Heller)

7.《你能原谅我吗?》(Can You Ever Forgive Me? 玛丽埃尔·海勒[Marielle Heller])

Casting Melissa McCarthy and Richard E. Grant as witty, cynical partners in crime in early ’90s Manhattan is pretty much foolproof. They would be fun to watch if all they did was insult each other over drinks. They do a lot of that, and this movie — based on the real-life escapades of literary forger Lee Israel and her accomplice, Jack Hock — is admirably modest and specific in scale. It doesn’t preach or pose, but in the fine grain of its characters and the skill of its performers (including Dolly Wells as a sweet and credulous bookseller), it achieves a kind of perfection.

由梅丽莎·麦卡锡(Melissa McCarthy)和理查德·E. 格兰特(Richard E. Grant)饰演上世纪90年代初一对机智、愤世嫉俗的犯罪搭档,基本上不可能是败笔。就算只是一边喝酒一边损对方都已经足够吸引人看下去。他们这样的事没少干,而且这部电影——根据文学伪造者李·伊斯雷尔和同谋克·霍克的真实恶作剧改编——在尺度上是适中而具体的。它不说教,不装模作样,但通过人物的细密纹理和表演者的演技(包括多莉·韦尔斯[Dolly Wells]饰演了一位温柔可爱、容易上当受骗的书商),它取得了某种完美。

8. ‘BlacKkKlansman’ (Spike Lee)

8. 《黑色党徒》(斯派克·李)

Ebullient and indignant, Lee’s best nondocumentary feature in quite some time delves into some ugly American history — including film history — to remind us that it’s still being written. Based on the true story of Ron Stallworth, an African-American detective who infiltrated the Ku Klux Klan in the ’70s, the film is a wild mash-up of genres and styles. It’s an interracial buddy picture (with John David Washington and Adam Driver), a blaxploitation action-romance (with Washington and Laura Harrier) and a real-life horror movie. The last scenes, which trace the continuity of racism from “The Birth of a Nation” in 1915 to Charlottesville to 2017 is a tour de force of political filmmaking and blunt, brilliant Spike Lee dialectics. (Rent it on Amazon, iTunes, GooglePlay, YouTube and Vudu.)

李的这部最佳非纪实长片热情又充满义愤,它以相当的篇幅深入探讨了一段丑陋的美国历史——包括电影史,以便提醒我们,这段历史仍未结束。这部影片是类型和风格的疯狂混搭,它改编自70年代打入三K党的黑人侦探罗恩·斯托尔沃斯(Ron Stallworth)的真实故事。它是一部跨越种族的兄弟片(约翰·戴维·华盛顿[John David Washington]和亚当·德里弗[Adam Driver]),是一部黑人类型化的动作-浪漫片(华盛顿和劳拉·哈里亚[Laura Harrier]),也是一部真实的恐怖片。在最后几场戏中,它回溯了从1915年的《一个国家的诞生》(The Birth of a Nation)到2017年的夏洛茨维尔一直未曾间断的种族主义,成为政治电影和直率、精彩的斯派克·李式辩证的杰作。(可在亚马逊、iTunes、Google Play、YouTube和Vudu上租借。)

9. ‘Capernaum’ (Nadine Labaki)

9.《迦百农》(Capernaum,娜丁·拉巴基[Nadine Labaki])

Naturalism meets melodrama in this harrowing, hectic tale of a lost boy’s adventures in the slums and shantytowns of Beirut. Twelve-year-old Zain witnesses and undergoes horrors that don’t seem exaggerated, but Zain al-Rafeea, the young actor who plays him, endures the worst with Keatonesque stoicism and Chaplinesque empathy. Not that this is a comedy, exactly, but as in her previous features (“Caramel” and “Where Do We Go Now?”) Labaki refuses to lose sight of the exuberance, grit and humor that people hold onto even in moments of the greatest desperation.

在这个关于一个迷失男孩在贝鲁特的贫民窟和棚户区冒险的悲惨故事中,自然主义与情节剧相遇。12岁的扎因目击并经历了一些似乎并不算夸张的恐怖,但饰演这个角色的小演员扎因·拉菲亚用基顿式的坚忍和卓别林式的同理心捱过了最艰难的境遇。倒不是说这就是一部喜剧,但跟她之前的长片(《焦糖》[Caramel]和《吾等何处去》[Where Do We Go Now?])一样,拉巴基始终没有忘记,人们即使是在最绝望的时刻,也会保持的活力、勇气和幽默。

10. ‘The Favourite’ (Yorgos Lanthimos)

10.《宠儿》(The Favourite’,约戈斯·兰西莫斯[Yorgos Lanthimos])

The twisty mischief of the plot — court intrigue in the palace of Queen Anne overlaid with sexual treachery among the her courtiers — is crisply handled, but what lands this movie on the list are its many moments of scenic and thespian audacity. Emma Stone makes rape jokes. Rachel Weisz dispatches pigeons with a front-loaded rifle. Olivia Colman complains of gout. There are bunnies, duck races and a human menagerie of fops, fools and femmes fatales. The moral is that power corrupts, and corruption is fun.

曲折、胡闹的剧情——安妮女王的宫中,侍臣的性背叛和朝廷阴谋交织起来——处理得干净利落,但这部电影之所上榜,却是因为它有许多充满戏剧性的大胆场面。艾玛·斯通(Emma Stone)开强奸的玩笑。蕾切尔·薇兹(Rachel Weisz)用一支前装步枪赶鸽子。奥利维娅·科尔曼(Olivia Colman)抱怨痛风。里面有兔子和鸭子赛跑,还有一个由花花公子、笨蛋和蛇蝎美女组成的人类动物园。寓意是权力是腐败的,而腐败很有趣。

The Runners-Up


In alphabetical order: “The Ballad of Buster Scruggs”; “Black Panther”; “Custody”; “If Beale Street Could Talk”; “The Rider”; “Shoplifters”; “Sorry to Bother You”; “Support the Girls”; “Western”; “Won’t You Be My Neighbor?”; “Zama.”

按字母顺序排列:《巴斯特·斯克鲁格斯的歌谣》、《黑豹》、《监护风云》、《假若比尔街能够讲话》、《骑士》、《小偷家族》、《抱歉打扰》、《支持女孩们》、《西部》、《与我为邻》(Won’t You Be My Neighbor?)、《扎马》。