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The word “resistance” has been central topolitical, intellectual, and, for that matter, moral life in the past twoyears, as policies of a sadistic fury and bullying remarks to match have issuedfrom the seat of American power.

“反抗”这个词是近两年来,特别自从针对虐待、欺凌的定位从美国权力中心定性之后,政界以及知识界的核心词汇。

Resistance takes many forms, includingcinematic ones. But the cinema of resistance isn’t necessarily overtlypolitical (though it may well be that, too—as in many of this year’s bestfilms). Movies of resistance offer, foremost, aesthetic resistance: they resistthe making of images and the telling of stories that take their own power forgranted. They resist clichés of audiovisual thought, which are as desensitizingto the individual mind as they are deluding in the forum of social debate. Theychallenge received ideas of what stories and images are, and challenge theirmakers’ own artistic practices; they expand viewers’ imaginations, deepen andsensitize their emotional responses, and create forms of perception that go farbeyond the events depicted in the movies to become enduring experiences inthemselves, enduring incarnations of their time.

反抗有多种形式,当然也包括戏剧的形式。戏剧反抗不一定有明确政治指向的政党运动,也可以是美学的反抗。它们通过画面和讲故事的方式来反抗本领域的权威。它们反抗的是声画的传统,范围大到国会辩论这种公开领域,小到个人的思想。它们挑战成见,挑战过往的艺术实践,惟陈言之务去,开拓观者的想象,深化和锐化情感认知,创造透过电影、观照现实、映射自身的知性。

By contrast, in the rush to be of themoment, in the self-conscious and vain exertion to capture the times,filmmakers often make movies as disposable as an op-ed, a commentary thatconverges with the averages and approximations of prevailing attitudes ratherthan the intimate specificity of experience. It’s easy for filmmakers to treatpolitical matters as cynically as they might approach any dramaticsubject—perhaps even easier, because they’re easier to tailor to theexpectations of a targeted audience. Many of the year’s most ostensibly“political” films have earned critical praise, they’ll likely get awards, andthey can be counted on to have as little effect on current-day politics asthey’ll have on the history of cinema.

正相反,有些电影制作人为了捕捉当下热度,将电影简化为一个开头到结束的封闭区间。一些所谓政治电影更加强调一般性,而不是私密经验的特殊性。这些电影在精确的数据分析和广告投放后,推向既定观众。它们广受好评,屡获大奖,在未来影史上却只会泯然众人。

This is all to say that 2018 has been abanner year for movies, but you’d never know it from a trip to a local multiplex—orfrom a glimpse at the Oscarizables. The gap between what’s good and what’swidely available in theatres—between the cinema of resistance and the cinema ofconsensus—is wider than ever. I’ve played a little game with my list this year:after composing it, I rummaged through the box-office numbers to see where eachof the films ranked among the six hundred and eighty-two films released to datethis year, how much money each took in, and how many theatres each one wasreleased in. Three of the year’s best were shown in more than a thousandtheatres (and one on the list is the biggest box-office hit of the year) butthe others had releases that ran from limited to virtually nonexistent. Some ofthe best movies in the year don’t register at all in terms of ticket sales;they may have played at only one venue for a week, and reported no numbers fortheir brief runs. Though this came as a shock, it should be no surprise:because of the conceptual and sensory extremes that the best new movies offer,they’re also often a tough sell in theatrical release.

整体来说,2018年是电影的吉祥年。但是好电影和高票房之间还有差距。我认为是在戏剧反抗与戏剧共识之间的鸿沟愈深,渐于天堑。

今年上映682部电影,我查看了它们赚多少钱,放映多少场次。本list中三部最佳电影取得了很好的票房,但是其他基本上票房惨淡。

In some cases, streaming has filled the gap. Several of the year’s best movies, such as “Shirkers” and “The Ballad of Buster Scruggs,” are being released by Netflix at the same time as (or justafter) a limited theatrical run. Others, which barely qualified as havingtheatrical releases (one theatre for a week), are now available to streamonline, on demand, and are more widely accessible to viewers (albeit at home)than films playing at thousands of multiplexes. Yet an impermanence, a threatof disappearance with the flick of a switch, hangs threateningly overindependent films that are sent out on streaming (a problem that came to thefore this fall, with the shuttering of FilmStruck, which made a hefty batch ofCriterion and TCM films available to stream).

电影的播放形式一定程度上在填补这道深坑。《逃避者》和《巴斯塔·斯克鲁格斯的歌谣》都在Netflix播出。一些只适合影院公映的电影(档期一周),现在可以在网络点播,更为便捷。悬挂在独立电影头上,横亘在独立电影与公众之间的达摩克利斯之剑,目前随着网络播放的成熟,开始缓缓放松。

巴斯塔·斯克鲁格斯的歌谣

巴斯塔·斯克鲁格斯的歌谣

This crisis of access has taken new formsin the era of streaming, but it’s in many ways old news; because of changingavailability, one generation’s classics are another’s obscurities. But thereare also signs of progress. The increasing diversity and originality ofartistic ideas in movies is a result of the increasing (though not sufficientlyrapidly increasing) diversity in the range of filmmakers, actors, and othercollaborators working today. The ostensibly great cinematic eras of the past(like the New Hollywood of the seventies) went hand in hand with the virtualsilencing and the invisibility of many of the most original filmmakers of thetime—many of them, unsurprisingly, women and people of color. Today, along witha more varied group of filmmakers working, there is a more varied range ofpossibilities for their work to be seen and also a more varied range of critics(with a more varied range of platforms) who are likely to bring such work intothe spotlight.

本年度除了为我们呈现了多样化的面世形式,还有多样化风格的作品。一代人的经典,对另一个人来说却晦涩难懂。艺术理念呈现出原创性和多样性,这是制作者、演员其他电影从业者多样化的结果。七十年代好莱坞的辉煌不再,在岁月的递进中,交到了更有生命力的人群之中:有色人种,女性等。更多元的作品和更为多元的批评,也正在次第进入闪光灯下。

The current cinema is built on the absencesof the past—and their ghostly emanations are also now taking cinematic form.2018 has been a year of phantom cinema, of film traces that were lost in timeand are only now, finally, finding their embodiments. Orson Welles’s “The OtherSide of the Wind” (which is on Netflix) and Sydney Pollack’s (rather, ArethaFranklin’s) “Amazing Grace” were shot in the nineteen-seventies, completed onlyrecently, and released this fall. The late Claude Lanzmann’s “Shoah: FourSisters” was shot in the seventies, and he supplemented and edited thoseinterviews recently (he died in July; it’s his last film). Sandi Tan’s“Shirkers” brings together the recovery of her unfinished film from thenineteen-nineties with the lives of its makers and its complex course to itspresent form. These belated projects are representatives for the voices, pastand present, that haven’t come to the fore yet, the rediscoveries—or, rather,reparations—still awaiting their enactment.

P.S. There are still some movies awaitingtheir year-end releases that I haven’t been able to see yet—plus, of course, Ihaven’t seen all of the year’s nearly seven hundred new releases—so this listmay well have some additions.

本年度电影建立在现在的缺席之上。今年的电影人,都不约而同的使用了鬼魂般的映射,他们在鬼域找到了艺术的载体。《风的另一边》和《奇异的恩典》都是摄于19世纪,最近几年完成,今秋上映。克劳德·朗兹曼的《肖:四姐妹》摄于70年代,最近完成,7月制作者去世。陈善治《逃避者》是90年代未完成电影和现在的奇异结合。他们心中迟到的灵感,在等待再发掘和再提炼。

Photograph by Ashley Connor / OscilloscopeLaboratories

Madeline’s Madeline” (Josephine Decker)

A furious, visionary drama of an outer-boroughteen-age girl (Helena Howard), whose conflicts with her mother (Miranda July)are offset by her uneasy bond with a theatre director (Molly Parker).

约瑟芬·戴克《玛德琳的玛德琳》

一个青少年龄的小女孩,与她妈妈的矛盾以及与一位导演之间的纠葛。

Let the Sunshine In” (Claire Denis)

Juliette Binoche stars in the Frenchdirector’s film about a middle-aged woman’s romantic adventures, which refractspersonal experience in the form of a modernistic screwball comedy.

克莱尔·德尼《心灵暖阳》

一个中年女性的浪漫之旅,是一部包含着现代元素的怪咖喜剧。

Zama” (Lucrecia Martel)

The bureaucratic and intimate frustrationsof a Spanish magistrate in a remote Argentine outpost in the eighteenth centuryinspire rarefied passions and a highly original style to match.

《扎马》

18世纪西班牙殖民地将军,在一个阿根廷的边缘岗哨,他想要调离岗位,但是发现无论大陆还是人生都是一片荒原。电影高度风格化。

Did You Wonder Who Fired the Gun?” (Travis Wilkerson)

This first-person documentary is a bitterlyrevelatory work of history, a monstrous family story, and an unflinching viewof current politics.

《你想知道是谁开的枪吗》

第一人称纪录片,对历史的洞见梳理,一个深刻的家庭故事,一次对现实政治无所畏惧的观照。

Sorry to Bother You” (Boots Riley)

A comedic outburst of political imaginationand visionary fury, centered on a young Oakland telemarketer (LakeithStanfield) whose job conceals grand schemes of grotesque evil.

《抱歉打扰》

一个黑人推销员在工作中发现了一系列罪恶。这是一出戏剧化的政治寓言。

BlacKkKlansman” (Spike Lee)

This drama, based on the true story of twopolice officers in Colorado Springs who infiltrated the Ku Klux Klan, is amongLee’s most politically passionate films.

《黑色党徒》

电影基于真实事件,是两个警察嵌入3K党的故事,是导演李最有政治激情的一部作品了。

Werewolf” (Ashley McKenzie)

With ferociously intimate images, tenselycontrolled performances, and a spare sense of drama, this début feature, abouttwo young drug addicts in Nova Scotia, conjures a state of heightenedconsciousness.

《狼人》

紧张而直接的画面,高度有控制的表演,较少的冲突感,首部作品的生疏感,两个年轻的吸毒者,制造出一种高度的清醒意识。

Mrs. Hyde” (Serge Bozon)

This giddily imaginative reworking ofRobert Louis Stevenson’s classic tale stars Isabelle Huppert as a scienceteacher whose identity is changed, along with her teaching style, when shebecomes a subject of her own experiment.

《海德女士》

史蒂文森著有《杰基尔博士与海德先生奇案》,讲的是双重人格。这部电影是最史蒂文森作品的想象性再创作,由法国女影人伊莎贝拉·于佩尔出演,她是一位教师,随着教学风格改换身份,她自己成为了自己的试验品。

The Old Man & the Gun” (David Lowery)

Robert Redford delivers a glorious, slyperformance in a movie that masks its idiosyncrasy in brisk and breezystorytelling.

《老人和枪》

罗伯特·雷德福在片中贡献了精湛的表演,修饰了原著中轻松的叙事。(电影改编自《纽约客》文学刊的一个short story

Photograph from Netflix / Everett

Shirkers” (Sandi Tan)

This energetic and insightful first-persondocumentary is centered on the efforts of teen-agers in Singapore in the earlynineteen-nineties to make a madly ambitious independent film.

《逃避者》

极具洞察力的第一人称视角纪录片,设定于90年代新加坡,一个少年为做电影的而做的努力,极具野心的独立电影。

Jeannette: The Childhood of Joan of Arc” (Bruno Dumont)

A portrayal of Joan of Arc’s childhood as astarkly inventive, ecstatically energetic rock opera, filmed on location in rawand rustic landscapes.

《童女贞德》

对贞德童年极富创造力的描摹,充斥着摇滚戏剧的狂欢,摄制于在粗粝的地理环境中。

Claire’s Camera” (Hong Sang-soo)

The South Korean director condenses a grandmelodrama of work, love, and art into a brisk roundelay of chance meetings andintimate confrontations, set amid the Cannes Film Festival; Isabelle Huppertstars.

《克莱尔的相机》

南韩洪尚秀指导电影,关于爱,工作和艺术的作品,其中有轻快浪漫的邂逅和亲密互动,现身戛纳,于佩尔参演。

Infinite Football” (Corneliu Porumboiu)

This warmly comedic yet calmly analyticaldocumentary, about a Romanian bureaucrat who wants to change the rules ofsoccer, subtly confronts the country’s political history.

《无限足球》

温暖喜剧色彩但是仍有冷静分析叙事口吻的纪录片,罗马尼亚官僚想要去改变足球的规则,潜移默化中与这个国家的政治相遇。

Monrovia, Indiana” (Frederick Wiseman)

In this documentary, his forty-fourthfeature, Wiseman visits a small Midwestern town where the winds of change meetthe chill of death.

《印第安纳的蒙罗维亚》

在这个纪录片中,在第四十四个专题,导演参观了中西部小镇,冷静的展示这里的自然和死亡。

Support the Girls” (Andrew Bujalski)

An exuberant yet intricate comedy-drama,set behind the scenes of a Texas sports bar and starring Regina Hall as itscompassionate and all-seeing manager.

华丽而结构精致的喜剧,背景为德州运动酒吧,其中雷吉娜·霍尔演技饱受好评,还有一位无微不至的经理人。

Sollers Point” (Matt Porterfield)

The title of this drama refers to aBaltimore neighborhood where a young man (McCaul Lombardi) is threatened bywhite supremacists he knew while he was in prison.

《索勒斯角》

巴尔的摩的一个年轻人,在狱中被白人至上主义者威胁,而出狱后仍然要面对惨淡的人生。

Photograph from Fox Searchlight / Everett

Isle of Dogs” (Wes Anderson)

This stop-motion animated comedy, aboutchildren’s efforts to thwart the extermination of dogs, is Anderson’s thirdfilm in a virtual trilogy of revolt.

《犬之岛》

停格动画,黑色幽默,内容是孩子们想要阻止犬的灭绝,安德森的反叛三部曲之一。安德森最为人知的电影可能是《布达佩斯大饭店》。

Golden Exits” (Alex Ross Perry)

Life and work stressfully intersect in thistaut, intimate melodrama of families and friends in the comfortable confines ofCobble Hill.

《黄金出口》

生活和工作紧张地穿插在私密的家庭叙事之中,他们过的是科布尔山(布鲁克林市中心)的舒适有度的中产阶级生活。

Can You Ever Forgive Me?” (Marielle Heller)

Melissa McCarthy brings passion andpoignancy to the role of the real-life Lee Israel, a biographer who, infinancial distress, convincingly fabricates letters in the names (and voices)of famous writers and sells them.

《你能原谅我吗》

传记作家生活窘迫,以高超的技术(包括写作技术)伪造名人信件并售卖。

Photograph from Netflix / Everett

The Ballad of Buster Scruggs” (Joel Coen and Ethan Coen)

A six-part Western anthology, centered upona common theme: the Wild West’s relentless cruelty, wanton violence, deadlyrecklessness, and cavalier abuses of unchecked power.

《巴斯特·斯克鲁格斯的歌谣》

电影由六部分西部故事组成,围绕一个共同主题:荒野西部的粗粝无情,无度的暴力,致命的轻率,权力无节制的滥用。

I Am Not a Witch” (Rungano Nyoni)

In this derisive and empathetic drama, aquiet eight-year-old Zambian girl is accused by her fellow-villagers of being awitch, and is sent to an encampment of witches.

《我不是女巫》

赞比亚女孩被诬为魔女,被送到巫女集中营的故事。电影运用了极为共情的拍摄手法。

A Bread Factory” (Patrick Wang)

Tyne Daly stars as the founder of aperforming-arts space in a small New England town that is threatened with atakeover by celebrity artists with Hollywood connections.

《面包工厂》

多个片段构成的艺术空间。

The 15:17 to Paris” (Clint Eastwood)

A drama of gonzo casting, in which thethree young American men who thwarted a terrorist attack aboard a train inFrance, in 2015, play themselves.

1517分,启程巴黎》克林特·伊斯特伍德作品

法国一辆列车上,三位美国年轻人遭遇暴恐,他们挺身而出制服歹徒。三位当事人也是本片中的演员,他们饰演他们自己。

The Rest I Make Up” (Michelle Memran)

An intimate documentary portrait of theplaywright María Irene Fornés, whose bouts of memory loss prove to be the onsetof Alzheimer’s disease.

The Rest I Make Up

剧作家玛利亚·艾琳的纪录片,患阿兹海默症失忆后仍然妙语连珠。

If Beale Street Could Talk” (Barry Jenkins)

A virtual essay on the crushing legalmechanisms of racism and a first-person vision of the enduring force of historyare interwoven with a piercingly romantic dramatic adaptation of JamesBaldwin’s novel.

《假如比尔街能说话》

改编自鲍德温小说,第一人称视角,事关种族主义,也关乎家庭的完整。

Bisbee ’17” (Robert Greene)

This documentary, about the violentrepression of a 1917 strike in the copper-mining town of Bisbee, Arizona, isalso a work of fiction in the conditional tense, featuring local residents in areënactment of the historical events.

《比斯比17

纪录片,亚利桑那、墨西哥边境产煤区一户人家的历史遭遇。

First Reformed” (Paul Schrader)

Ethan Hawke plays an angry and bitterminister in a small and historic upstate New York church, who directs much ofhis bitterness at political leaders and much of it at himself.

《第一归正会》

霍克出演一个严格的牧师,在本地教区引起了政教和居民的冲突。

Gavagai” (Rob Tregenza)

A visually virtuosic ghost story, set inNorway, about grief, poetry, landscape, and emotional recovery.

Gavagai

背景挪威,每个场景都是艺术品,关于主角去世妻子的故事,关于物哀,诗,自然,内心疗救。

Photograph by Matt Kennedy / Walt DisneyStudios Motion Pictures / Everett

Black Panther” (Ryan Coogler)

A grandly mythical superhero drama thatconfronts modern political agonies in complex and resonant ways.

《黑豹》

漫威超级英雄电影,幻想与现实政治激烈而复杂的冲撞。

Hale County This Morning, This Evening” (RaMell Ross)

A virtually handmade, photographicallyinspired documentary about young adults living in small towns in westernAlabama.

《黑尔郡的日与夜》

亚拉巴马州西部小镇的年轻人生活,每个镜头像一张明信片。

Minding the Gap” (Bing Liu)

A former teen skater in Rockford, Illinois,returns home to make a documentary about his longtime friends’ current livesand reveals harsh truths about their past and his own.

《滑板少年》

伊利诺伊的滑板少年,归乡途中的纪录,这部作品观照他的密友现在的生活,展示了他们过去的残酷真相。

Notes on an Appearance” (Ricky D’Ambrose)

This exquisitely stylized drama is set inNew York, in the present day, but it’s redolent of the tones, moods, andconflicts of earlier times—of a hothouse intellectual city and its enduringmythology.

《外观注解》

背景纽约,精致的戏剧,设定为现代,叙事者却像是来自之前的时代。一个智性城市和它绵延至今的神话。

“The Other Side of Everything” (MilaTurajlić)

A documentary about Srbijanka Turajlić, aSerbian opponent of Slobodan Milošević’s repressive and genocidal post-Yugoslavregime, directed by her daughter and centered on the political history of thefamily’s home.

《万物另一边》

纪录片,塞国活动家Srbijanka Turajlić,在前南斯拉夫统治下的生活与一家人的历史,时间跨度70年。导演是她的女儿。

The Spy Who Dumped Me” (Susanna Fogel)

The familiar plot of this action comedy,starring Mila Kunis and Kate McKinnon, is adorned with piquantly loopy,extravagant, and off-kilter details.

《我的间谍前男友》

动作喜剧,熟悉的情节,有辛辣而夸张的各种玩梗儿。

Scarred Hearts” (Radu Jude)

A fanatically detailed, intellectuallyfurious drama, set in Romania, in 1937, about a young Jewish writer trappedbetween disease and Fascism.

《受伤说的心》

高读智性的激烈冲突,高精度的细节,1937年罗马西亚,一个年轻的作家陷于疾病和右翼的困境之中。

Pow Wow” (Robinson Devor)

This documentary, about residents of theCoachella Valley and its history, offers as much cinematic style as it doesinvestigative content.

《帕瓦》

一部纪录片,它记录的是加州科切拉谷地的居民和历史,在写实的基调下,尽可能的发挥导演的艺术风格。

Photograph from Alamy

A Season in France” (Mahamat-Saleh Haroun)

The Chadian director dramatizes thebureaucratic sword of Damocles that is hanging over the heads of a family ofmigrants from the Central African Republic who are living in Paris.

马哈曼特-萨雷·哈隆《法兰西一季》

电影中是一个中非共和国家庭,他们移民巴黎,导演戏剧化的展示了悬挂在他们头上的官僚主义的达摩克勒斯之剑。

Garry Winogrand: All Things Are Photographable” (Sasha WatersFreyer)

A documentary about the photographer,featuring audio recordings and also film clips of him at work.

《盖瑞·温诺格兰德:一切皆可入镜》

一部关于摄影师的纪录片,电影还剪辑了他在工作中的片段。

The Hate U Give” (George Tillman, Jr.)

This adaptation of a young-adult novel isthe story of a black family living in a predominantly black Georgianeighborhood and confronting legally enforced and socially reinforced norms ofracism.

乔治·提尔曼《你给的仇恨》

改编自小说。一家住在佐治亚前前蓄奴区的黑人家庭。他们面对的合法的和社群实施的种族主义。

The Waldheim Waltz” (Ruth Beckermann)

A documentary about the AustrianPresidential elections of 1986, composed entirely of archival footage(including sequences filmed by the director, who was involved in protests atthe time).

鲁斯·贝克曼《瓦尔德海姆的华尔兹》

1986年奥地利总统选举,由当时的录像构成,以及包括导演摄制的片段,导演本人涉入过抗议之中。

影评人英语视频

拓展阅读

著名影评人 从知名影评人的转行:http://www.merrylook.cn/ping/139.html

【影评人】作为影评人的翟欣欣女士:http://www.merrylook.cn/ping/11.html

中文表达“玩忽职守”,用地道英语习语应该怎么来表示呢?:https://baijiahao.baidu.com/s?id=1611360885889676403&wfr=spider&for=pc

相关问答

问:"影评人"用英语怎么说

答:影评人  [名] movie critic;  影评人[yǐn pín rén] movie critic

问:歌词里面有英语是什么・・路易路易路易・・ 什么歌啊?

答:路易啊 满意请采纳

问:英文世界的著名的影评人有哪些值得推荐?

答:roger ebert