至今為止，2018年度最佳電影

With the long, hot holiday ahead, you may have a chance to catch up on moviegoing. Here are the top films that our chief critics, A.O. Scott and Manohla Dargis, are recommending so far this year:

隨著漫長(zhǎng)而炎熱的暑假即將到來(lái)，你可以利用這個(gè)機(jī)會(huì)補(bǔ)補(bǔ)電影。以下是我們的首席影評(píng)人A·O·斯科特(A.O. Scott)和瑪諾拉·達(dá)爾吉斯(Manohla Dargis)推薦的今年目前為止的最佳影片。

‘First Reformed’

《第一歸正會(huì)》(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.

劇情 這部劇情片由保羅·施拉德(Paul Schrader)撰寫劇本并執(zhí)導(dǎo)，講述了紐約上州牧師恩斯特·托勒爾(Ernst Toller，伊桑·霍克[Ethan Hawke]飾)在與一名激進(jìn)的環(huán)保主義者以及他的妻子相遇后信念出現(xiàn)動(dòng)搖的故事。

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·斯科特的評(píng)價(jià) “這是一個(gè)飽受折磨的靈魂的畫像，嚴(yán)謹(jǐn)?shù)臉?gòu)思和細(xì)致的執(zhí)行讓它更加充滿力量。”這部電影“感覺像是一次新的發(fā)現(xiàn)。不僅如此，它是一次頓悟”。

READ the full review.

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‘Zama’

《扎馬》(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.

劇情 唐·迪戈·扎馬(Don Diego de Zama，丹尼爾·希梅內(nèi)斯·卡喬[Daniel Giménez Cacho]飾)是18世紀(jì)的一名西班牙官員，他希望從巴拉圭駐地被調(diào)往別處，卻始終未能如愿。這其實(shí)是導(dǎo)演盧奎西亞·馬特爾(Lucrecia Martel)的一則關(guān)于殖民主義與權(quán)力關(guān)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.”

瑪諾拉·達(dá)爾吉斯的評(píng)價(jià) 這部影片是“一場(chǎng)電影奇跡”。首屈一指的阿根廷導(dǎo)演馬特爾“擁有美妙的眼光，可以通過(guò)身體在一個(gè)畫面和場(chǎng)景中的排列產(chǎn)生張力，效果就像通過(guò)任何說(shuō)出的臺(tái)詞一樣”。

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‘The Guardians’

《守護(hù)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.

劇情 守護(hù)者是一對(duì)母女(由現(xiàn)實(shí)生活中的母女納塔莉·貝伊[Nathalie Baye]和勞拉·斯梅特[Laura Smet]飾演)，她們?cè)诜▏?guó)經(jīng)營(yíng)著一座農(nóng)場(chǎng)，而男人們正在遠(yuǎn)方的一戰(zhàn)戰(zhàn)場(chǎng)上廝殺。澤維爾·布瓦(Xavier Beauvois)執(zhí)導(dǎo)。

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·斯科特的評(píng)價(jià) 這是“一部歷史劇情片，它沒有讓自己迷失在裝飾性的時(shí)代細(xì)節(jié)里，一部用唯美的攝影講述的鄉(xiāng)村生活紀(jì)事，避免了露骨的感傷和沉重的慘痛”。

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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).

劇情 以《副總統(tǒng)》(Veep)成名的編劇兼導(dǎo)演阿爾曼多·伊安努奇(Armando Iannucci)將冷嘲熱諷的視線轉(zhuǎn)向蘇聯(lián)時(shí)代的政治陰謀，帶來(lái)一部辛辣的戲劇，描繪了包括赫魯曉夫和莫洛托夫在內(nèi)的各種官僚，他們利用謊言、威脅和笑話，在斯大林死后爭(zhēng)奪權(quán)力。演員包括史蒂夫·布西密(Steve Buscemi)和杰弗里·塔伯(Jeffrey Tambor，在他被指責(zé)有不當(dāng)性行為并予以否認(rèn)之前完成了拍攝)。

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.”

瑪諾拉·達(dá)爾吉斯的評(píng)價(jià) 該片“巧妙地結(jié)合了毒舌段子與令人痛徹心扉的對(duì)話，還有時(shí)機(jī)恰到好處的滑稽打鬧”，它“時(shí)而有趣、時(shí)而令人不安，大笑會(huì)慢慢變成倒吸一口冷氣，然后又突然變成不安的、讓人喘不過(guò)氣來(lái)的大笑。”

READ the full review.

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‘Won’t You Be My Neighbor?’

《與我為鄰》(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.”

劇情 這部摩根·內(nèi)維爾(Morgan Nevill，《離巨星20英尺》[20 Feet From Stardom])執(zhí)導(dǎo)的紀(jì)錄片審視了電視劇《羅杰斯先生的鄰居》(Mister Rogers’ Neighborhood)幕后創(chuàng)作者的事業(yè)和遺產(chǎn)。

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·斯科特的評(píng)價(jià) 導(dǎo)演沒有試圖創(chuàng)作一份心理學(xué)習(xí)作或探索秘聞，而是“致力于評(píng)估一個(gè)屏幕人格的意義和影響。正是這個(gè)重點(diǎn)——對(duì)公眾面前的‘羅杰斯先生’及其遺產(chǎn)認(rèn)真而審慎的關(guān)注——使得《與我為鄰》感覺像是一份禮物”。

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‘Leave No Trace’

《葉落無(wú)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.

劇情 在黛布拉·格蘭尼克(Debra Granik，《冬天的骨頭》[Winter’s Bone])的這部長(zhǎng)片中，一位隱居世外的退伍軍人和他正值青春期的女兒(本·福斯特[Ben Foster]與托馬辛·哈克特·麥肯錫[Thomasin Harcourt McKenzie] 飾)被人們發(fā)現(xiàn)了，但是體制令他們?nèi)谌肷鐣?huì)的努力從各種方面永遠(yuǎn)改變了他們。

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.”

瑪諾拉·達(dá)爾吉斯的評(píng)價(jià) “《葉落無(wú)痕》邀你和它的角色一起，以他們的方式去看待和體驗(yàn)這個(gè)世界。這部電影提醒你，無(wú)論是生活還是藝術(shù)，它們對(duì)你要求的共情都太少了。”

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‘Let the Sunshine In’

《心靈暖陽(yáng)》(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.

劇情 導(dǎo)演克萊爾·德尼(Claire Denis)描繪了一個(gè)離婚的巴黎藝術(shù)家(伊莎貝爾[Isabelle]，朱麗葉·比諾什[Juliette Binoche]飾)遇到一連串失敗的戀情。

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·斯科特的評(píng)價(jià) “比諾什不費(fèi)吹灰之力就展現(xiàn)出人格魅力，但卻毫無(wú)虛榮之感，并不努力讓角色顯得可愛。她和德尼一點(diǎn)也不關(guān)心你對(duì)她的看法?！缎撵`暖陽(yáng)》努力接受伊莎貝爾的本色。她和觀眾面臨的挑戰(zhàn)是弄清楚這一本色到底是什么。”

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‘Lean on Pete’

《賽馬皮特》(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.

劇情 這部安德魯·海(Andrew Haigh)執(zhí)導(dǎo)的成長(zhǎng)故事講述了查利(Charley，查理·普拉默[Charlie Plummer]飾演)的故事，他是一個(gè)新近來(lái)到俄勒岡州波特蘭的貧困青少年，為了逃避不穩(wěn)定的家庭生活，他在賽馬場(chǎng)里找到了避難所，在名為“依靠皮特”的賽馬身上找到了安慰。

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.”

瑪諾拉·達(dá)爾吉斯的評(píng)價(jià) 這部電影“在某些最美麗的段落中有著極為寬廣的維度”，它的“視覺美感與故事的丑陋形成鮮明反差，但這是有必要的，而且是令人樂于接受的，因?yàn)樗o了你一些能夠緊緊抓住的東西，甚至當(dāng)查利越來(lái)越落魄、到處覓食、抵抗暴力的時(shí)候也是如此。”

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