16

神圣車行

Holy Motors

導演：萊奧·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了不起的導演。他從來不曾像在本片中這樣袒露自己，這部電影里，一個男子開著豪華車四處游蕩，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，神圣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(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.

德爾托羅讓我們一窺戰爭的恐怖——在這里特指西班牙內戰。德爾托羅關于內戰的瑰麗景象中，《鬼童院》和《潘神的迷宮》就像是一對雙胞胎，后者透過夢幻的濾鏡給我們講了一個悲劇，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(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，不但挑戰了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，而其中并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(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.

喬治·米勒用《瘋狂的麥克斯：狂暴之路》燃爆了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于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了生存和忍耐的主題。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，而是把注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

導演：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.

《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，你永遠完成不了自己的作品，因為你也快死了，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。考夫曼的作品并不歡樂，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，我們也并不孤單。

– Angie Han, Slashfilm, US

16

神圣車行

Holy Motors

導演：萊奧·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了不起的導演。他從來不曾像在本片中這樣袒露自己，這部電影里，一個男子開著豪華車四處游蕩，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，神圣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(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.

德爾托羅讓我們一窺戰爭的恐怖——在這里特指西班牙內戰。德爾托羅關于內戰的瑰麗景象中，《鬼童院》和《潘神的迷宮》就像是一對雙胞胎，后者透過夢幻的濾鏡給我們講了一個悲劇，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(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，不但挑戰了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，而其中并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(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.

喬治·米勒用《瘋狂的麥克斯：狂暴之路》燃爆了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于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了生存和忍耐的主題。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，而是把注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

導演：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.

《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，你永遠完成不了自己的作品，因為你也快死了，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。考夫曼的作品并不歡樂，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，我們也并不孤單。

– Angie Han, Slashfilm, US