年時報影評人心中的最佳電影(3)

The film critics of The New York Times — Manohla Dargis and A. O. Scott — share their picks for the best movies of the year.

時報影評人曼諾拉·達吉斯(Manohla Dargis)與A·O·斯科特(A. O. Scott)分享他們挑選的年度最佳電影。

A. O. Scott

A·O·斯科特

Like a lot of critics, I chafe against the arbitrariness of lists even as I recognize their utility. Since I can never stop at 10 — how could I, when something like 900 movies were released in North American theaters? — I picked 15 to match the year, ranked them and ended up fudging that count. So maybe technically it’s a top 20. The slots with more than one title aren’t ties, but double features, paired movies that complement, contend with or amplify each other’s best qualities.

和許多評論家一樣，我一方面瞭解清單的便利，一方面也討厭清單的專橫。所以我永遠不可能只列出十部――我怎麼做得到呢，北美影院一年就要上映900多部影片呢――今年是2015年，所以我挑選了15部，爲它們分門別類，計數時做了一點含糊，所以最後其實是20部。其中有兩部片名的不代表並列，而是代表有兩種特色，可以成對觀看，二者的優點相映成趣。

1. “Timbuktu”(Abderrahmane Sissako)

1.《廷巴克圖》，導演：阿伯德拉馬納·希薩柯(Abderrahmane Sissako)。

Mr. Sissako is both an indispensable political filmmaker and one of the great poets of contemporary cinema. His portrait of life under jihadi rule in northern Mali is brutal and shocking, but also gentle, generous and surprisingly funny. Mr. Sissako does not humanize violent extremists so much as demonstrate that they already belong to the species and reflect part of our common, tragic nature. But his movie also insists that the only effective and ethically serious way to oppose fanaticism is with humanism. Which is to say with irony, with decency and, perhaps above all, with art. (Read the review.)

希薩柯既是一位不可或缺的政治導演，也是當代電影中的偉大詩人之一。他爲北部馬裏聖戰者管轄之下的生活所繪的圖像既殘酷又驚人，但也溫柔、慷慨兒驚人的有趣。希薩柯並沒有把暴力極端分子人性化，而是展示出，他們已經成了這種人，也反映出我們身上普遍的、悲劇的天性。但他的影片還堅持認爲，反對狂熱主義，唯一有效而且道德的方式就是人道主義。他以反諷而正直的方式言說了這一觀點，或許最重要的是，以藝術的方式言說了這一觀點。

2. “Inside Out” (Pete Docter)

2. 《頭腦特工隊》，導演：彼得·道格特(Pete Docter)。

This journey into the mind and feelings of an 11-year-old-girl may be Pixar’s wildest adventure yet. It’s a very funny workplace sitcom (with exuberant, touching performances from Amy Poehler, Phyllis Smith, Mindy Kaling and others), an ingenious allegory of psychological development, and an almost unbearably moving and honest defense of the role of sadness in our lives. (Read the review.)

這段深入11歲女孩心靈與情感的旅程可能是皮克斯迄今最瘋狂的冒險。這是一部非常有趣的工作場合情景喜劇，艾米·波勒(Amy Poehler)、菲利絲·史密斯(Phyllis Smith)和敏迪·卡靈(Mindy Kaling)等人帶來了精彩感人的演出，這是一則關於心理髮展的精巧語言，也是對於悲傷在我們的生活中所扮演的角色的一種感人而誠懇的辯護。

3. “Spotlight” (Tom McCarthy)

3. 《聚焦》(Spotlight)，導演：湯姆·麥卡錫(Tom McCarthy)。

“The Big Short” (Adam McKay)

《大空頭》，導演：亞當·麥凱。

Two terrifically entertaining, ensemble-driven, fact-based procedurals about appalling crimes and the institutions — the Roman Catholic Church and Wall Street banks — that allowed corruption to fester. In addition to mustering righteous anger, Mr. McCarthy and Mr. McKay, in very different ways, managed to infuse the routines of modern work (answering phones, typing on keyboards, scrutinizing spreadsheets) with suspense, emotion and moral gravity.

這兩部極具娛樂性，追求整體效果，建立在事實基礎上的程序劇(procedural)都是關於驚人的犯罪與腐敗滋生的大型機構的故事——一個是關於羅馬天主教會，一個是關於華爾街銀行。除了激發起正直的憤怒，麥卡錫與麥凱以不同的方式，把懸疑、情感和道德的分量融入到接電話、敲鍵盤、讀報表等現代日常工作中去。

4. “Heart of a Dog”(Laurie Anderson)

4. 《狗心》(Heart of a Dog)，導演：勞瑞·安德森(Laurie Anderson)。

A meditation on love, loss and the meaning of life. Dog people and Lou Reed fans will be especially susceptible (I plead guilty on both counts), but anyone who ever had a heart is likely to succumb to Ms. Anderson’s ethereal wisdom and her fierce formal wit.

對愛、喪失與人生意義的沉思。喜歡狗的人與盧·裏德(Lou Reed)的歌迷會特別容易受感動（我向雙方都承認錯誤），但是任何有心人都會爲安德森女士輕盈的智慧與極爲莊重的風趣所打動。

5. “Carol” (Todd Haynes)

5. 《卡羅爾》，導演：託德·海因斯。

37| “Anomalisa” (Charlie Kaufman/Duke Johnson)|

《失常》，導演查理·考夫曼(Charlie Kaufman)與杜克·約翰遜(Duke Johnson)。

The finest romance and the most acute anti-romance of the year, from some of the most rigorous intellects in American movies. The relationship between them is perhaps best summed up in this poem by William Blake, called “The Clod and the Pebble”:

這是今年最精緻的浪漫電影與最尖銳的反浪漫電影，均來自美國電影界最縝密的聰明人。兩部影片之間的關係最好用一首威廉·布萊克(William Blake)的詩歌來總結——《土塊與卵石》(The Clod and the Pebble)。

6. “Taxi”(Jafar Panahi)

6. 《出租車》(Taxi)，導演賈法·帕納西(Jafar Panahi)。

The Iranian dissident filmmaker, posing as a (barely competent) Tehran cabdriver, stages a sly, pseudo-documentary inquiry into the paradoxes of cinema and the contradictions of everyday life under authoritarian rule.

伊朗持不同政見電影人扮演一個幾乎不合格的德黑蘭出租車司機，帶來一部狡猾的僞紀錄片，深入探討電影的悖論，以及專制統治下日常生活中的矛盾。

7. “Out 1: Noli Me Tangere”(Jacques Rivette)

7. 《出局：禁止接觸》(Out 1: Noli Me Tangere)，導演：雅克·裏維特(Jacques Rivette)。

It took almost 45 years for this 13-hour shaggy-dog experiment to reach American screens, but the timing turned out to be perfect. Mr. Rivette’s mischievous ramble through Paris, French literature and a handful of perennial philosophical puzzles (What is the nature of reality? How do we know what we know? What is the relation of effect to cause?) is both a charming, newly rediscovered artifact of its hectic time and a bulletin from the cinematic future. Everything has already been done, and everything is still possible.

這部13個小時的，關於長毛狗經歷的影片花了45年纔來到美國的影院，但時機卻恰到好處。裏維特先生淘氣地在巴黎、法國文學與若干永恆的哲學謎題（真實的本質是什麼，我們怎麼知道我們知道，因與果之間的聯繫）之間徜徉，它既是一個迷人的，被重新發覺餓出來的藝術品，片長簡直瘋狂；與此同時，也警示着電影的未來。一切都已經做過了，一切都仍然是可能的。