年時報影評人心中的最佳電影(1)

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。

Manohla Dargis

曼諾拉·達吉斯

You might think that our love of lists could be pinned on the Ten Commandments, but Umberto Eco says otherwise. “The list is the origin of the culture,” he once said on a subject he knows well, having written a book titled “The Infinity of Lists.” And culture wants “to make infinity comprehensible” and “to create order — not always, but often,” hence Homer’s catalogs in “The Iliad” and the roll call of never-completed household chores on my fridge. “We like lists because we don’t want to die,” Mr. Eco also said, which is the best explanation of the listicle that I’ve yet read.

你可能覺得我們對於列清單的愛好是從“十誡”繼承而來，但安伯託·艾柯( Umberto Eco)的說法卻正相反，“清單是文化的起源”，他寫過一本書，《無限的清單》(The Infinity of Lists)，書中在討論自己熟悉的東西時這樣說道。而且，文化希望“讓無限變得可以理解”，並且“創造秩序——不是永遠如此，但通常都是這樣”，所以纔有了荷馬在《伊利亞特》中的人名清單，以及你冰箱上貼着的，永遠做不完的家務清單。“我們喜歡清單，因爲我們不想死，”艾柯還說，這可能是對“清單體”(listicle)的最佳解釋了。

Death may be behind the ritual of the critic’s top 10 lists, including that of physical media: Lists are easy to read on cellphones even if the deluge of entertainment media increasingly makes comprehensive viewing near-impossible. More than 900 movies will have opened in New York by the end of this year, many slipping in and out of theaters quickly and racing toward on-demand oblivion. Even so, I watched several hundred features over the year and liked quite a few; the major studios and the independent sector released the expected junk but, as usual, movies of merit. What follows are my favorite moving pictures of 2015 and another 10 miscellaneous notes on the year.

死亡可能隱藏在評論人的十大清單這一儀式之後，也包括實體媒體的死亡：清單在手機上更容易讀，就算娛樂媒體的泛濫，已經令深刻的閱讀近乎不可能實現。截止到年底，紐約今年一共上映了900多部電影，很多影片都在影院內匆匆來去，由於缺乏觀衆而被遺忘。儘管如此，這一年裏，我看了幾百部影片，喜歡其中的一部分；不出所料，大製片公司和獨立公司都有垃圾製作，但和往常一樣，也不乏有價值的作品。下面是我在2015年最喜歡的影片，以及今年的十則雜記。

1. “The Assassin” and “Mad Max: Fury Road” (tie) Hou Hsiao-Hsien and George Miller directed the year’s two best commercial movies, both of which should be seen on the biggest screen you can find.

1.《刺客聶隱娘》(The Assassin)與《瘋狂的麥克斯4：狂暴之路》(Mad Max: Fury Road)，並列。侯孝賢和喬治·米勒(George Miller)導演了今年最好的兩部商業片，二者都應該到你能找到的最大的屏幕上去看。

2. Luminous Intimacy: The Cinema of Nathaniel Dorsky and Jerome Hiler All praise and many deep-felt thanks to the New York Film Festival for programming this sublime dual retrospective.

2. “閃光的密切：納撒尼爾·多斯基與傑羅姆·希勒的電影”(Luminous Intimacy: The Cinema of Nathaniel Dorsky and Jerome Hiler)。讚美紐約電影節，感謝紐約電影節，舉辦了這樣一次令人讚歎的雙人回顧影展。

3. “Bridge of Spies” Years ago, Steven Spielberg entered the ranks of Pantheon Directors, to borrow the most exalted category in Andrew Sarris’s taxonomic “The American Cinema” — and there he remains.

3. 《間諜之橋》(Bridge of Spies)。幾年前，史蒂文·斯皮爾伯格(Steven Spielberg)進入了殿堂級導演的行列，從安德魯·薩里斯(Andrew Sarris)所謂的“美國電影”中借鑑了最崇高的形式——這部影片中他仍然保持水準。

4. “Carol” This is the first movie that Todd Haynes directed that doesn’t have his name on it as a writer. Working from Phyllis Nagy’s distillation of the Patricia Highsmith novel, he reaffirmed that filmmakers don’t need to generate their own screenplays to be great, a truth many aspiring and established auteurs disregard.

4. 《卡羅爾》(Carol)。這是託德·海因斯(Todd Haynes)第一次執導不由自己編劇的影片，編劇菲麗絲·奈吉(Phyllis Nagy)簡化了派翠西亞·海史密斯(Patricia Highsmith)的小說原著，海因斯藉此再次證明，電影導演不必依靠拍自己親自寫的劇本才能成爲偉大導演，這個真理卻遭到許多雄心勃勃或功成名就的導演忽略。

5. “In Jackson Heights” The latest from the brilliant Frederick Wiseman has a three-hour-plus running time; maybe this explains why once again the dunderheads at the Academy didn’t put him in contention.

5. 《在傑克遜高地》(In Jackson Heights)。傑出的弗裏德里克·懷斯曼(Frederick Wiseman)帶來的三個多小時的新作；這或許可以解釋爲什麼奧斯卡獎的蠢材們再一次沒有把他加入候選名單。

6. “The MArtian” With its red-rock buttes and mesas, Ridley Scott’s deeply satisfying space western both draws from an enduring genre and his own Pantheon legacy. (Read the review.)

6. 《火星救援》(The Martian)。在佈滿紅色岩石的山坡與丘陵之間，雷利·斯科特(Ridley Scott)這部非常令人滿意的太空西部片既源自一個歷史悠久的類型，也源自他的殿堂級遺產。

7. “The Kindergarten Teacher” In his tough, weird knockout, the Israeli director Nadav Lapid spins the story of a teacher’s obsession with a child poet to create a savage portrait of fanaticism and its costs.

7. 《教師》(The Kindergarten Teacher)。在這部嚴酷、怪異的轟動之作中，以色列導演那達夫·拉皮德(Nadav Lapid)講述一個教師對一個兒童詩人的迷戀，爲狂熱及其代價繪製了一幅殘忍的肖像。

8. “The Diary of a Teenage Girl” In her terrific feature debut, Marielle Heller traces the artistic and sexual awakening of a 15-year-old (a sensational Bel Powley) whose desires leads to adulthood.

8. 精彩出演）的藝術覺醒與性覺醒，慾望令她長大成人。

9. “The Big Short” Adam McKay plays it for comedy, but as he carpet-bombs the screen with laughs, he makes it clear that his take on the 2008 economic meltdown is a staggering American tragedy.

9. 《大空頭》(The Big Short)。亞當·麥凱(Adam McKay)把影片處理爲喜劇，但在他以笑聲轟炸屏幕的同時，也表明他對這場2008年經濟崩潰的呈現是一場讓人心碎的美國悲劇。

10. “Sixty Six” Lewis Klahr’s beautiful compilation of digital short works, which refashion pop culture in a heroic key, played for only one night at the Museum of Modern Art. But his work shows up in cities like Los Angeles and San Francisco, too, so if you’re in the neighborhood, look for his next show.

10. 《66》(Sixty Six)。劉易斯·卡爾(Lewis Klahr)把數碼短片精彩地彙集在一起，以一種英雄氣概的方式複製流行文化，它只在MoMA上映過一晚。但他的作品也在洛杉磯和舊金山等城市上映，所以如果你住在附近，可以去看他的下一次展映。