BBC文化頻道邀請全球177位影評人投票選出瞭21世紀最偉大的100部電影，來看看都有哪些電影，附前25名的BBC點評。

1

穆赫蘭道

Mulholland Drive (2001)

導演：大衛·林奇

http://www.bilibili.com/video/av1139361/

Lynch’s film is so gorgeous and so painful, so mysterious and, in many ways, so recognisable that, whatever theory you ascribe to it, the picture does indeed reflect a reality that moves beyond southern California and parks itself in our brains, tapping into our dreams, deepest fears, inscrutable natures, and erotic desires.

林奇的這部電影華美之極又痛苦之極，神秘詭譎又莫名熟悉，無論你套以何種解釋，那些畫面都能超越南加州，反觀現實，並駐留在我們的腦海裡，鉆進我們的睡夢之中、恐懼深處，潛入我們無法名狀的性情和肉欲中。

– Kim Morgan, Sunset Gun, US

2

花樣年華

In the Mood for Love (2000)

導演：王傢衛

http://www.bilibili.com/video/av1273829/

Wong Kar-wai is one of world cinema’s most notorious perfectionists, but he earned every moment of editing-room indecision with In the Mood for Love, the rare movie that draws much of its melancholy power from what it leaves off-screen.

王傢衛是世界影壇最臭名昭著的完美主義者，不過他耗在剪輯室裡的每一個無法決斷的瞬間，在《花樣年華》中都值瞭。這是一部罕見的用留白來積蓄憂鬱力量的電影。

We never see the faces of the spouses whose affair pulls two lonely neighbours into their delirious romantic spiral. We never see the sex scene that Wong shot but omitted, all the better to heighten the erotic charge of every swaying hip and every voluptuous swirl of the camera.

我們從未見到那兩個出軌的配偶，正是他們的婚外情把兩個孤獨的鄰居卷入一場意亂情迷的浪漫旋渦。我們也從未看到王傢衛拍瞭又剪掉的床戲，這讓每一次腰肢的搖曳和撩人的鏡頭都充滿情色張力。

And we never hear the lost, whispered words at the climax, which would be superfluous in any case: never before has a film spoken so fluently in the universal language of loss and desire.

我們也從沒聽到過高潮部分那些無從知曉的喃喃細語，就算聽到瞭，也是多餘，因為從來沒有哪部電影能將失落和欲望的普遍主題講述得如此流暢。

– Justin Chang, Los Angeles Times

3

血色將至

There Will Be Blood (2007)

導演：保羅·托馬斯·安德森

http://www.iqiyi.com/dianying/20130226/bdaa61572b3331d1.html?fv=p_02_02&frp=v.baidu.com%2Fmovie_intro%2F&fc=80a6be5a674c94d0&vfm=bdvtx&kwid=27776

From its near-wordless opening scene, Paul Thomas Anderson’s There Will Be Blood feels like something forged, not filmed.

幾乎無聲的開場使得保羅·托馬斯·安德森這部《血色將至》像是鍛造出來的，而不是拍出來的。

Daniel Day-Lewis, as turn-of-the-century prospector Daniel Plainview, grunts, spits and scrapes his way into a hole under baked Western earth; he strikes silver, drags his half-broken body to certify his claim, winds up discovering oil.

丹尼爾·戴·劉易斯飾演的礦工丹尼爾·普萊恩惟尤咕噥著、吐著唾沫星子，在炎熱的西部地下開采。他找到瞭銀礦，拖著自己半殘的身體確認所得，竟意外發現瞭石油。

The rest of the movie – a sprawling, half-mad testament to greed, industry, moral hypocrisy and ballyhoo at their most elementally American – could be watched with no sound at all and still be perfectly understood.

接下來的電影蔓延伸展，半帶瘋狂地見證著最具美國特色的貪欲、工業、虛偽和喧囂。同樣可以完全不帶聲音地看下去，且絲毫不影響理解。

– Ann Hornaday, The Washington Post

4

千與千尋

Spirited Away (2001)

導演：宮崎駿

http://v.qq.com/x/cover/dxejskxh9kkcry3.html?ptag=baidu.video.movie&vfm=bdvtx&frp=v.baidu.com%2Fmovie_intro%2F

It’s hard to place any one of Studio Ghibli’s sweet, passionate animated films above the others, but Hayao Miyazaki’s Spirited Away does particularly stand out for its visual sophistication and elaborate themes of determination, courage and good cheer.

從吉卜力工作室諸多的甜美、富於激情的動畫電影中選出一部最棒的並不容易，但宮崎駿的《千與千尋》確實以其高度成熟的畫面語言、精心闡述的決心、勇氣與樂觀等主題而顯得更加出彩。

Miyazaki’s story of a young girl trying to rescue her parents, feels like a throwback to an earlier age of hand-drawn animation. Made at a point where CGI was taking over animated features in theUS, Spirited Away has a lovingly handmade feel. It’s a traditional fairy tale turned into an exciting narrative of transformation and discovery.

宮崎駿這個關於小女孩努力解救父母的故事就像是帶我們回到一個手繪動畫的時代。在當時的美國，動畫長片已基本上都由電腦繪圖，但《千與千尋》卻帶著可愛的手繪質感。這部電影將傳統神話打造為關於轉變與發現的激動人心的敘事。

– Tasha Robinson, The Verge, US

5

少年時代

Boyhood (2014)

導演：理查德·林克萊特

http://www.iqiyi.com/v_19rrmjn4a4.html?vfm=2008_aldbd&fc=828fb30b722f3164&fv=p_02_01

This 21st Century masterpiece took most of the 21st Century to make. For more than a decade, Richard Linklater spent a few weeks each year chronicling the life of Mason.

這部21世紀的傑作耗費瞭這個世紀的很長一段時間來制作。12年來，導演林克萊特每年花幾個星期來記錄男孩梅森的生活。

Watching the cast, which also includes Ethan Hawke and a remarkable Patricia Arquette, age before our eyes, adds an extra layer of poignancy to every single scene.

我們看著整個劇組，包括伊桑·霍克和出色的帕特麗夏·阿奎特，在眼前慢慢成長、老去，每一幀畫面都因此增添瞭一抹辛酸滋味。

In an era when every aspect of society was accelerating, Linklater slowed down to tell the one of the definitive stories of our time.

在這樣一個時代，社會的方方面面都在快節奏發展，而林克萊特卻慢下步伐，耐心講述瞭一個帶有我們這個時代強烈印記的故事。

– Matt Singer, ScreenCrush, US

6

美麗心靈的永恒陽光

Eternal Sunshine of the Spotless Mind ( 2004)

導演：米歇爾·岡瑞

http://v.pps.tv/play_3586WI.html?vfm=2008_aldbd

The story of a breakup gone wrong, Eternal Sunshine of the Spotless Mind could easily have gone wrong itself. But this wasn't your average whimsical tale of romantic yearning.

這是一個分手分出一堆問題的故事，而電影本身也極有可能出問題。但它絕不是一部普通的浪漫幻想愛情片。

Jim Carrey boldly pushed against type to portray a perennially sad man literally trapped by his grievances and eager to let them unravel.

影片主演金•凱瑞這次跳脫瞭他一貫無厘頭喜劇的風格，飾演瞭一個長期陷入憂鬱和茫然，並努力想逃離這一切的男人。

But the movie belongs just as much to Kate Winslet, whose character's decision to erase her own memories of the ex-couple's time together sets the drama in motion.

這部電影同樣屬於女主凱特•溫絲萊特，她想把與前男友的記憶從腦海中徹底抹去的決定，推動著劇情戲劇性地發展。

– Eric Kohn, Indiewire, US

7

生命之樹

The Tree of Life (2011)

導演：泰倫斯·馬力克

http://www.bilibili.com/video/av2852872/

Like a great poem, The Tree of Life opens itself to a thousand interpretations, as director Terrence Malick takes a spiritual and lyrical journey through time, from a dusty 1950s childhood in Texas back to the beginnings of the cosmos itself.

這是一部充滿詩意的電影。從1950年代的少年時光到宇宙的起源，導演泰倫斯·馬力克帶領觀眾的心靈在時空中優雅地穿梭跳躍。

This strange new pillar in the cathedral of US cinema stars Brad Pitt as an authoritarian father and Jessica Chastain as a tender and deeply religious mother of three sons.

這部電影怪誕卻無疑是挺立在美國電影殿堂中的新支柱。佈拉德·皮特出演瞭一位父權至上，擁有三個孩子的父親，傑西卡·查斯坦飾演瞭溫柔但一絲不茍遵循宗教信條的母親。

Emmanuel Lubezki’s cinematography is sun-dappled, or oozes images of boiling lava, dinosaurs and exploding planets, all to a soundtrack of Preisner’s Requiem — in this case a requiem to a dead son. The joys and aching losses of parenting become transcendent, even Biblical, in Malick’s hands.

在艾曼努爾·盧貝茲基鏡頭下的電影語言被日光照耀的斑駁陸離，充斥著滾滾巖漿、恐龍和爆炸的星體，與澤貝紐·普瑞斯納的安魂曲完美結合，那是為死去的孩子演奏的安魂曲。在馬力克的劇本中，這對父母親的愉悅與悲傷被無限放大，甚至有些《聖經》的風格。

– Kate Muir, The Times, UK

8

A One and a Two (2000)

導演：楊德昌

http://www.bilibili.com/video/av2815359/

Audiences in 2000 were astonished by how fluently Edward Yang’s Yi Yi portrays contemporary life through the intermingling stories of members of a Taipei family separated by the dilemmas specific to their stations in life.

2000年的觀眾都為《一一》所震撼——楊德昌如何能將一個臺北傢庭中各個成員的不同故事混疊在一起敘述，卻極其自然流暢地刻畫出瞭當代生活。故事裡，一傢人因陷入不同生命階段的特殊困境而互相隔絕。

Yi Yi is a reverently meticulous film, with its painstakingly detailed moods, and rituals that are seemingly endemic to the characters and their customs. Yet, it is also grandly universal. Its quiet reflections on life, love, family and death are all gracefully affecting, no matter the gap in generation and culture.

《一一》是一部用心至極的精致電影，頗費心思地細膩抒情，當中涉及的儀式場景帶有地方性特色，貼合人物生活環境的習俗。但同時，這部電影卻又具有普遍性意義。不論觀者與電影中的人事隔著怎樣的年代與文化差異，它那極安靜的、對於生命、傢庭與死亡的映射都是那樣美而有感染力。

– Oggs Cruz, Rappler, Philippines

9

一次別離

A Separation (2011)

導演：阿斯哈·法哈蒂

http://www.bilibili.com/video/av2001216/

If there is a film that makes you take a deep look at yourself in the mirror again and again, this is it. Asghar Farhadi’s searing relationship drama does not make a judgement about its characters. Rather, it pitches the situations so realistically that the viewer ends up sympathising with both protagonists even though they are pitted against each other.

如果說有哪部電影能讓你在看完後對著鏡子陷入深深思考，那毫無疑問就是它瞭。阿斯哈·法哈蒂強烈的戲劇沖突沒有對任何角色進行完全的褒貶。他將電影中的場景刻畫得自然真實，到頭來還讓觀眾為瞭相互折磨的主人公們胸口發悶。

– Utpal Borpujari, Freelance, India

10

老無所依

No Country for Old Men (2007)

導演：伊桑·科恩 / 喬爾·科恩

http://www.bilibili.com/video/av695333/

Readers of Cormac McCarthy’s No Country for Old Men put down the novel possessing a distinct image of its villain. The Anton Chigurh on the page became vividly seared into our consciousness. That image, though, is not Javier Bardem in the Coen Brothers’ Oscar-winner for best picture.

讀過科馬克·麥卡錫的小說《老無所依》的人都會對書中那個反派有一個鮮明印象。書中的冷血殺手安東·齊格已經深深烙進我們的意識中，那並不是科恩兄弟這部奧斯卡獲獎影片主演哈維爾·巴登的形象。

Yet Bardem’s film characterisation is so powerful, so splendidly overwhelming in his random application of violence, that he manages to extinguish whatever preceded it in the mind of the audience.

然而，巴登的演繹太有力度，他用隨意不經心的暴力表達華麗麗地將我們制服，把觀眾腦海中先前的印象一抹而光。

Set in West Texas in 1980, No Country for Old Men’s sense of time and place are unparalleled. There’s a hypnotic quality to the movie’s pace, watching characters you can’t help but like make a series of catastrophic decisions that bring each into Chigurh’s universe, a world soaked in blood with a predetermined outcome.

《老無所依》背景是1980年的德州西部。整部電影的節奏帶著催眠般的效力，你看著那些你無法不愛的角色做出一系列災難性的決定，把自己送進殺手齊格的世界，而那是一個用血腥浸染的世界，一切結果都已預知。

– Ben Mankiewicz, Turner Classic Movies, US

11

醉鄉民謠

Inside Llewyn Davis (2013)

導演：伊桑·科恩 / 喬爾·科恩

http://www.bilibili.com/video/av2384654/

He's a messy haired loner strumming an acoustic guitar, struggling to show the world he's got talent. No one cares, and no one wants to listen.

他獨自一人漫不經心地彈著民謠吉他，發絲凌亂，掙紮著告訴世界自己的才華。但無人駐足，無人在意。

Set in the Greenwich Village folk scene of the 1960s, the Coen brothers' Inside Llewyn Davis is an achingly melodic tribute to an unloved underdog.

故事發生在六十年代的美國格林威治村，科恩兄弟的這部作品描畫瞭一個沒人關愛的失敗者辛酸落魄又旋律悠揚的生活。

Davis (Oscar Isaac) is striking out on his own after his musical partner goes solo. Along his dour journey, he'll find others vying for similar success and others just trying to survive, in a very Coen-esque manner.

主角戴維斯（奧斯卡•伊薩克飾）在搭檔離去後背著吉他孑然一身地獨唱。在他陰鬱的獨行路上，他會發現還有人跟他一樣掙紮著觸摸光明，還有很多人僅是卑微地生存著，一切都以典型的科恩兄弟式的方式展現出來。

– Monica Castillo, The New York Times’ Watching, US

12

十二宮

Zodiac (2007)

導演：大衛·芬奇

http://www.bttiantang.com/subject/5607.html

Zodiac, David Fincher's meticulous, gorgeous and haunting true crime movie, is a deep dive into obsession, following a newspaper cartoonist who becomes consumed by the 1970s Zodiac murders.

《十二宮》是大衛·芬奇一部細膩、驚艷、貨真價實的犯罪電影，看過經久難忘。電影通過講述一名報紙漫畫傢卷入70年代的十二宮連環殺人案的故事，深刻地瘋魔瞭一把。

Gloriously detail-driven, Zodiac drags viewers into a compulsive world where the smallest hint can be the biggest clue, and it presents the obsessive’s worst nightmare: that, in the end, answers are utterly unattainable.

電影在讓人驚嘆的細節中發展，把觀眾拖入一個欲罷不能的世界，最細微的暗示都可能是最大的線索。然而，卻給瞭瘋魔者們一個最害怕的夢魘：真相永遠不可知曉。

– Devin Faraci, BirthMoviesDeath, US

13

人類之子

Children of Men (2006)

導演：阿方索·卡隆

http://www.le.com/ptv/vplay/20950909.html?ch=baidu_ffdy&frp=v.baidu.com%2Fmovie_intro%2F&vfm=bdvtx&ref=bdvpay

Here’s a bold statement about a bold movie: Children of Men, like no other film this century, and perhaps no other movie ever, solves the meaning of life.

給這部大膽的電影下一個大膽的評論：《人類之子》不同於本世紀任何一部電影，也許迥異於歷史上任何一部電影，回答瞭什麼是生命的意義。

Alfonso Cuarón’s staggering 2006 adaptation of PD James’ novel is rich and vital in its emotional and philosophical depth: its sadness, its anger, its reverence and worry for humanity.

阿方索·卡隆在2006年改編自PD·詹姆斯原著的這部令人震驚的電影，在情感和哲學深度上都極為豐富和重要：它的悲哀、它的憤怒，和對人性的膜拜和擔憂。

– Richard Lawson, Vanity Fair, US

14

殺戮演繹

The Act of Killing (2012)

導演：喬什•奧本海默

http://www.bttiantang.com/subject/22674.html

Harrowing, confrontational and surreal, The Act of Killing ends with Anwar Congo, the gangster who murdered nearly 1,000 people in 1965-66 following the military coup in Indonesia, coming to terms with his heinous crimes. Possibly. He sobs, vomits and laments the lives he had willfully taken away, and yet we're never sure if he's genuinely repentant or if it's all a high-wire act on his part.

折磨人心、充滿對抗和不真實感的《殺戮演繹》，在劊子手安瓦爾•岡戈（Anwar Congo）承認自己令人發指的罪行後結束。從1965年到1966年，在印度尼西亞的軍事政變後，安瓦爾屠殺瞭近千人。他為那些他肆意殺害的生命抽泣、嘔吐、感嘆，但我們並不知道他是不是真的在懺悔，或者這隻是他做作地表演。

The Act of Killing is a piercing, multilayered study about national amnesia, about the power of self-deceit and the questionable morality of truth-seeking. Its status as the 21st Century's most celebrated documentary will likely be preserved for a long time to come.

這部電影是對舉國遺忘一段歷史這種現象的深刻而多層次的研究，同時也是對自我欺騙的力量和追尋真相與道德角力的探索。它作為21世紀最偉大的紀錄片的地位，將會長遠地保持下去。

– Joseph Fahim, Freelance, Egypt

15

四月三周兩天

4 Months, 3 Weeks and 2 Days

導演：克裡斯蒂安·蒙久

http://www.bilibili.com/video/av2009392/

One scene, one cut, zero music. Cristian Mungiu's 2007 Palme d'Or winner is a touchstone of the Romanian New Wave, a stark wonder of a film exemplified by visual precision, a bracingly clear-eyed script and glacial detachment. Imbuing a backstreet abortion with the brutal tension of a crime thriller – and abortion was a crime in 1980s Romania – Mungiu evokes the callous and repressive atmosphere of Ceausescu's foundering dictatorship.

一個場景隻有一個長鏡頭，沒有背景音樂。蒙久這部作品摘得2007年金棕櫚獎。作為羅馬尼亞新浪潮的試金石，它以準確的視覺、清晰的劇本和以超然的視角完成瞭一次質樸的驚艷。1980年代，羅馬尼亞墮胎還是違法的，片中的秘密墮胎貫穿著犯罪驚悚片的緊張感，讓人想起瞭齊奧塞斯庫獨裁統治下無情壓抑的氛圍。

– Maggie Lee, Variety, Hong Kong

16

神聖車行

Holy Motors

導演：萊奧·卡拉克斯

http://www.bilibili.com/video/av2580430/

Holy Motors is not a movie. It is an act of grief designed as an expression of love, and while enfant terrible Leos Carax has been an essential director for any film fan since his debut, he has never before laid himself bare in the way he does with this movie, in which a man is driven around in a limousine, assumes various disguises and personas, and connects and disconnects with people who flit into his life. Surreal, silly, sexy and sad, Holy Motors is a guided tour through everything about cinema that matters to Carax.

《神聖車行》不是一部電影。它是一次悲傷的行動，卻被設計為愛的表達，在影迷心中，電影頑童萊奧·卡拉克斯從處女作開始就是位瞭不起的導演。他從來不曾像在本片中這樣袒露自己，這部電影裡，一個男子開著豪華車四處遊蕩，以各種造型扮演不同的角色，與路過他生命的人們發生聯系又離開。離奇、愚蠢、性感、悲傷，神聖車行是一次有意安排的旅程，途經與電影有關的、在卡拉克斯心中有分量的一切。

– Drew McWeeny, Hitfix, US

17

潘神的迷宮

Pan's Labyrinth

導演: 吉爾莫·德爾·托羅

http://www.bilibili.com/video/av2164762/

Del Toro gives us a look into the horrors of war– in this case the Spanish Civil War. A twin of Del Toro's beautiful Civil War picture, The Devil's Backbone, Pan's Labyrinth gives us tragedy through the filter of fantasy, going deep into a well of suffering and magic. Its power lies in its purity: nothing we can imagine is as terrible as what we can do to each other.德爾托羅讓我們一窺戰爭的恐怖——在這裡特指西班牙內戰。德爾托羅關於內戰的瑰麗景象中，《鬼童院》和《潘神的迷宮》就像是一對雙胞胎，後者透過夢幻的濾鏡給我們講瞭一個悲劇，潛入至一口充斥痛苦與魔法的深井。這部電影的力量來自其純粹性：我們想象不出任何比人類互相傷害更可怕的事。

– Ana Maria Bahiana, Freelance, Brazil

18

白絲帶

The White Ribbon

導演：邁克爾·哈內克

http://www.acfun.tv/v/ac494126

"A group of children act together as silent perpetrators of crimes" is an already disturbing premise. By setting the story in a north German village in the months prior to World War One, Haneke not only challenged the myth of childhood innocence but also delivered a fictional prequel to the upcoming events in Germany. With any Haneke film, guilt and malice are in the air and no one in particular is to be blamed.

“一群孩子成為沉默的犯罪者”，這一設定已足夠令人不安，然而哈內克還把背景設在一次世界大戰數月前的德國村莊，不但挑戰瞭童年是天真的這一神話，而且這個虛構的故事仿佛是戰爭的前傳。哈內克的電影總是挖掘人性的罪惡，而其中並沒有誰就應該受到譴責。

– Fernanda Solórzano, Letras Libres Magazine, Mexico

19

瘋狂的麥克斯：狂暴之路

Mad Max: Fury Road

導演：喬治·米勒

http://www.acfun.tv/v/ac1978751

With Mad Max: Fury Road, George Miller dialed up the modern blockbuster to full blast. A cohesive vision with a structured journey built around themes of survival and endurance, the fourth entry in the dystopian franchise showcased what is otherwise the narrative and thematic drought within the Hollywood blockbuster machine. Without resorting to cheap cynicism and faux-grittiness, Miller zeroes in on the sensuality of the environments, the carefully crafted machines and scorched landscapes.

喬治·米勒用《瘋狂的麥克斯：狂暴之路》燃爆瞭一顆現代商業大片的炸彈。這個反烏托邦系列的第四部作品不同於其他平鋪直敘的好萊塢大片，而是用有凝聚力的視野和有組織的旅程講述瞭生存和忍耐的主題。米勒沒有用廉價的憤世嫉俗來講故事，也沒有刻意塑造堅毅果敢的人物性格，而是把註意力放在營造環境的刺激上，比如精心制作的機器、太陽炙烤的大地等等。

– Justine A Smith, Freelance, Canada

20

紐約提喻法

Synecdoche, New York

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導演：查理·考夫曼

http://www.bilibili.com/video/av711776/

Synecdoche, New York is every deep-seated fear you've ever had, writ large: you've disappointed your spouse and failed your children, you've let your loved ones die lonely, excruciating deaths, and you'll never complete the work you were put here to do because you, too, will reach the end before you know it. And that, paradoxically, is what makes it so affirming. Kaufman's masterpiece isn't joyful, but it's bursting at the seams with wild ambition and brimming with empathy. It's a reminder that even at our lowest and darkest, we are not alone.

《紐約提喻法》講的是我們每個人都有過的深層恐懼，顯而易見：你的配偶和孩子對你失望，你愛的人孤獨痛苦地死去，你永遠完成不瞭自己的作品，因為你也快死瞭，而你自己還渾然不覺。但矛盾的是，這些恐懼反而是一種肯定。考夫曼的作品並不歡樂，而是充斥著野心和同情心，它提醒我們，即使在最失落最黑暗的時刻，我們也並不孤單。

– Angie Han, Slashfilm, US

21

佈達佩斯大飯店

The Grand Budapest Hotel

導演：韋斯·安德森

http://www.bilibili.com/video/av1907043/

The Grand Budapest Hotel is the 21st Century's farewell salute to the century before. It vaults backwards in time from today to 1985 to 1968 to 1932. We know Gustave's immaculate world is ticking towards destruction, first by war, then by decades of neglect. Inevitably, the lazy and impersonal present will win, mass-producing not just our hotels, but our cinemas and the blockbusters on their screens. Wes Anderson has spent his career fussing over wallpapers. The Grand Budapest Hotel ennobles his craftsmanship.

《佈達佩斯大飯店》是21世紀向上個世紀的告別致敬之作。本片的時間軸從當下開始，之後跳躍到瞭1985年、1968年和1932年。我們知道，古斯塔夫的完美世界正一點點走向毀滅，先是因為戰爭，接著則是幾十年的漠視。不可避免地，這個懶惰且毫無個性的當今世界會戰勝過去，在當下，被大規模批量制造出來的不隻是飯店，還有我們的電影院，以及影院裡的大片。韋斯·安德森以整個職業生涯苦心孤詣地打造壁紙般唯美的鏡頭，《佈達佩斯大飯店》使他精妙的技藝展露無遺。– Amy Nicholson, MTV, US

22

迷失東京

Lost in Translation

導演：索菲亞·科波拉

http://www.56.com/u57/v_NTgyNzc2MDY.html

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.

請別再研究比爾·墨菲最後對斯嘉麗·約翰遜說瞭什麼瞭，那些話並不重要，那一刻之所以如此具有感染力，正是因為你聽不到他們說瞭什麼。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。年輕的哲學系女畢業生與過氣的電影明星，身處異鄉的兩人，在新宿街頭的短暫相遇，最後一次互相告別，正是這些使得《迷失東京》成為索菲亞·科波拉最優秀的作品。它講述的是，無論身處何方，到頭來人始終無法忘記自己的身份。

– David Ehrlich, Indiewire, US

23

隱藏攝像機

Caché

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導演：邁克爾·哈內克

http://www.bilibili.com/video/av1317707/

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·比諾什飾演的一對巴黎中產階級夫婦收到瞭奇怪的錄像帶，這些錄像帶顯示有人註視著他們傢的一舉一動。誰在註視著他們？這些錄像帶又揭示瞭什麼？想要揭開這個秘密，夫婦倆對錄像帶的反應是關鍵。當你意識到這點時，真相開始浮出水面。內在與外在沖突、個人與集體罪行合二為一。

– Hannah Pilarczyk, Der Spiegel, Germany

24

大師

The Master

導演：保羅·托馬斯·安德森

http://www.acfun.tv/v/ac2509225

保羅·托馬斯·安德森這部宏大的傑作頗具感染力，其根本是哀傷的，它探討的是，人到底是不是動物。飽受磨難的酒鬼弗萊迪·奎爾從二次大戰退伍回傢後，無法適應戰後美國社會的變化。

在宗教狂熱分子蘭卡斯特·多德的陪伴和教導下，他找到瞭某種解脫。很多人拿多德的宗教跟科學神教作類比，但本片真正的目的在於，探索思想和意識，以及信奉某種信仰體系能否真正克服返祖現象。

– Ali Arikan, Dipnot TV, Turkey

25

記憶碎片

Memento

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導演：克裡斯托弗·諾蘭

http://www.bilibili.com/video/av3652543/

諾蘭的《記憶碎片》講述瞭一個失憶男子尋找殺死妻子的兇手的故事。這個無懈可擊的謎題為嚴密復雜的敘事樹立瞭一個標準，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。看似轉彎抹角的粗俗小說，實則一出存在主義的悲劇。令人難忘。

– Eric D Snider, Freelance, US

26

第25小時

25th Hour

27

社交網絡

The Social Network

28

對她說

Hable con ella

29

機器人總動員

WALL· E

30

老男孩

올드보이