16

神圣车行

Holy Motors

导演：莱奥·卡拉克斯(Leos Carax)

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.

《神圣车行》不是一部电影。它是一次悲伤的行动，却被设计为爱的表达，在影迷心中，电影顽童莱奥·卡拉克斯从处女作开始就是位了不起的导演。他从来不曾像在本片中这样袒露自己，这部电影里，一个男子开着豪华车四处游荡，以各种造型扮演不同的角色，与路过他生命的人们发生联系又离开。离奇、愚蠢、性感、悲伤，神圣车行是一次有意安排的旅程，途经与电影有关的、在卡拉克斯心中有分量的一切。

– Drew McWeeny, Hitfix, US

17

潘神的迷宫

Pan's Labyrinth

导演: 吉尔莫·德尔·托罗(Guillermo del Toro)

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.

德尔托罗让我们一窥战争的恐怖——在这里特指西班牙内战。德尔托罗关于内战的瑰丽景象中，《鬼童院》和《潘神的迷宫》就像是一对双胞胎，后者透过梦幻的滤镜给我们讲了一个悲剧，潜入至一口充斥痛苦与魔法的深井。这部电影的力量来自其纯粹性：我们想象不出任何比人类互相伤害更可怕的事。

– Ana Maria Bahiana, Freelance, Brazil

18

白丝带

The White Ribbon

导演：迈克尔·哈内克(Michael Haneke)

"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.

“一群孩子成为沉默的犯罪者”，这一设定已足够令人不安，然而哈内克还把背景设在一次世界大战数月前的德国村庄，不但挑战了童年是天真的这一神话，而且这个虚构的故事仿佛是战争的前传。哈内克的电影总是挖掘人性的罪恶，而其中并没有谁就应该受到谴责。

– Fernanda Solórzano, Letras Libres Magazine, Mexico

19

疯狂的麦克斯：狂暴之路

Mad Max: Fury Road

导演：乔治·米勒(George Miller)

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.

乔治·米勒用《疯狂的麦克斯：狂暴之路》燃爆了一颗现代商业大片的炸弹。这个反乌托邦系列的第四部作品不同于其他平铺直叙的好莱坞大片，而是用有凝聚力的视野和有组织的旅程讲述了生存和忍耐的主题。米勒没有用廉价的愤世嫉俗来讲故事，也没有刻意塑造坚毅果敢的人物性格，而是把注意力放在营造环境的刺激上，比如精心制作的机器、太阳炙烤的大地等等。

– Justine A Smith, Freelance, Canada

20

纽约提喻法

Synecdoche, New York

导演：查理·考夫曼(Charlie Kaufman)

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.

《纽约提喻法》讲的是我们每个人都有过的深层恐惧，显而易见：你的配偶和孩子对你失望，你爱的人孤独痛苦地死去，你永远完成不了自己的作品，因为你也快死了，而你自己还浑然不觉。但矛盾的是，这些恐惧反而是一种肯定。考夫曼的作品并不欢乐，而是充斥着野心和同情心，它提醒我们，即使在最失落最黑暗的时刻，我们也并不孤单。

– Angie Han, Slashfilm, US

16

神圣车行

Holy Motors

导演：莱奥·卡拉克斯(Leos Carax)

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.

《神圣车行》不是一部电影。它是一次悲伤的行动，却被设计为爱的表达，在影迷心中，电影顽童莱奥·卡拉克斯从处女作开始就是位了不起的导演。他从来不曾像在本片中这样袒露自己，这部电影里，一个男子开着豪华车四处游荡，以各种造型扮演不同的角色，与路过他生命的人们发生联系又离开。离奇、愚蠢、性感、悲伤，神圣车行是一次有意安排的旅程，途经与电影有关的、在卡拉克斯心中有分量的一切。

– Drew McWeeny, Hitfix, US

17

潘神的迷宫

Pan's Labyrinth

导演: 吉尔莫·德尔·托罗(Guillermo del Toro)

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.

德尔托罗让我们一窥战争的恐怖——在这里特指西班牙内战。德尔托罗关于内战的瑰丽景象中，《鬼童院》和《潘神的迷宫》就像是一对双胞胎，后者透过梦幻的滤镜给我们讲了一个悲剧，潜入至一口充斥痛苦与魔法的深井。这部电影的力量来自其纯粹性：我们想象不出任何比人类互相伤害更可怕的事。

– Ana Maria Bahiana, Freelance, Brazil

18

白丝带

The White Ribbon

导演：迈克尔·哈内克(Michael Haneke)

"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.

“一群孩子成为沉默的犯罪者”，这一设定已足够令人不安，然而哈内克还把背景设在一次世界大战数月前的德国村庄，不但挑战了童年是天真的这一神话，而且这个虚构的故事仿佛是战争的前传。哈内克的电影总是挖掘人性的罪恶，而其中并没有谁就应该受到谴责。

– Fernanda Solórzano, Letras Libres Magazine, Mexico

19

疯狂的麦克斯：狂暴之路

Mad Max: Fury Road

导演：乔治·米勒(George Miller)

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.

乔治·米勒用《疯狂的麦克斯：狂暴之路》燃爆了一颗现代商业大片的炸弹。这个反乌托邦系列的第四部作品不同于其他平铺直叙的好莱坞大片，而是用有凝聚力的视野和有组织的旅程讲述了生存和忍耐的主题。米勒没有用廉价的愤世嫉俗来讲故事，也没有刻意塑造坚毅果敢的人物性格，而是把注意力放在营造环境的刺激上，比如精心制作的机器、太阳炙烤的大地等等。

– Justine A Smith, Freelance, Canada

20

纽约提喻法

Synecdoche, New York

导演：查理·考夫曼(Charlie Kaufman)

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.

《纽约提喻法》讲的是我们每个人都有过的深层恐惧，显而易见：你的配偶和孩子对你失望，你爱的人孤独痛苦地死去，你永远完成不了自己的作品，因为你也快死了，而你自己还浑然不觉。但矛盾的是，这些恐惧反而是一种肯定。考夫曼的作品并不欢乐，而是充斥着野心和同情心，它提醒我们，即使在最失落最黑暗的时刻，我们也并不孤单。

– Angie Han, Slashfilm, US