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BBC文化频道近来约请全世界177位影评人投票选出了21世纪最伟大的100部片子，大卫·林奇2001年的超实际名作《穆赫兰道》名列榜首，王家卫的《花腔韶华》位列第二。
除《花腔韶华》，另有三部华语片上榜：杨德昌的《逐一》[8]、李安的《卧虎藏龙》[35]和侯孝贤的《刺客聂隐娘》[50]。
上榜作品至多的导演包含：维斯·安德森、阿彼察邦·韦拉斯哈古、克里斯托弗·诺兰、迈克尔·哈内克、保罗·托马斯·安德森和科恩兄弟，这几位导演均有三部影片上榜。
如下是榜单前25名，附BBC摘选的点评。
一、穆赫兰道 Mulholland Drive （2001）
Lynch’s film is so gorgeous and so painful， so mysterious and， in many ways， so recognisable that， whatever theory you ascribe to it， the picture does indeed reflect a reality that moves beyond southern California and parks itself in our brains， tapping into our dreams， deepest fears， inscrutable natures， and erotic desires。
林奇的这部片子华丽之极又痛楚之极，神秘诡谲又莫名认识，不管你套以何种诠释，那些画面都能超出南加州，反观实际，并驻留在咱们的脑海里，钻进咱们的睡梦当中、惧怕深处，潜入咱们没法名状的性格和肉欲中。
– Kim Morgan， Sunset Gun， US
二、花腔韶华 In the Mood for Love （2000）
Wong Kar-wai is one of world cinema’s most notorious perfectionists， but he earned every moment of editing-room indecision with In the Mood for Love， the rare movie that draws much of its melancholy power from what it leaves off-screen。
王家卫是世界影坛最污名昭著的完善主义者，不外他耗在剪辑室里的每个没法定夺的刹时，在《花腔韶华》中都值了。这是一部罕有的用留白来积储郁闷气力的片子。
We never see the faces of the spouses whose affair pulls two lonely neighbours into their delirious romantic spiral。 We never see the sex scene that Wong shot but omitted， all the better to heighten the erotic charge of every swaying hip and every voluptuous swirl of the camera。
咱们从未见到那两个出轨的配头，恰是他们的婚外情把两个孤傲的邻人卷入一场意乱情迷的浪漫漩涡。咱们也从未看到王家卫拍了又剪掉的床戏，这让每次腰肢的摇摆和撩人的镜头都布满情色张力。
And we never hear the lost， whispered words at the climax， which would be superfluous in any case： never before has a film spoken so fluently in the universal language of loss and desire。
咱们也从没听到过飞腾部门那些无从通晓的喃喃细语，就算听到了，也是过剩，由于历来没有哪部片子能将掉和愿望的广泛主题讲述得如斯流利。
– Justin Chang， Los Angeles Times
三、赤色将至 There Will Be Blood （2007）
From its near-wordless opening scene， Paul Thomas Anderson’s There Will Be Blood feels like something forged， not filmed。
几近无声的开场使得保罗·托马斯·安德森这部《赤色将至》像是铸造出来的，而不是拍出来的。
Daniel Day-Lewis， as turn-of-the-century prospector Daniel Plainview， grunts， spits and scrapes his way into a hole under baked Western earth； he strikes silver， drags his half-broken body to certify his claim， winds up discovering oil。
丹尼尔·戴·刘易斯扮演的矿工丹尼尔·普莱恩惟尤咕哝着、吐着唾沫星子，在酷热的西部地下开采。他找到了银矿，拖着本身半残的身体确认所得，竟不测发明了煤油。
The rest of the movie – a sprawling， half-mad testament to greed， industry， moral hypocrisy and ballyhoo at their most elementally American – could be watched with no sound at all and still be perfectly understood。
接下来的片子舒展舒展，半带猖獗地见证着最具美国特点的贪欲、工业、卖弄和喧哗。一样可以彻底不带声音地看下去，且丝绝不影响理解。
– Ann Hornaday， The Washington Post
四、千与千寻 Spirited Away （2001）
It’s hard to place any one of Studio Ghibli’s sweet， passionate animated films above the others， but Hayao Miyazaki’s Spirited Away does particularly stand out for its visual sophistication and elaborate themes of determination， courage and good cheer。
从吉卜力事情室诸多的甜蜜、富于豪情的动画片子当选出一部最棒的其实不轻易，但宫崎骏的《千与千寻》确切以其高度成熟的画面说话、精心论述的刻意、勇气与乐观等主题而显得加倍出彩。
Miyazaki’s story of a young girl trying to rescue her parents， feels like a throwback to an earlier age of hand-drawn animation。 Made at a point where CGI was taking over animated features in theUS， Spirited Away has a lovingly handmade feel。 It’s a traditional fairy tale turned into an exciting narrative of transformation and discovery。
宫崎骏这个关于小女孩尽力补救怙恃的故事就像是带咱们回到一个手绘动画的期间。在那时的美国，动画长片已根基上都由电脑画图，但《千与千寻》却带着可爱的手绘质感。这部片子将传统神话打造为关于变化与发明的激动听心的叙事。
– Tasha Robinson， The Verge， US
五、少年期间 Boyhood （2014）
This 21st Century masterpiece took most of the 21st Century to make。 For more than a decade， Richard Linklater spent a few weeks each year chronicling the life of Mason。
这部21世纪的佳构花费了这个世纪的很长一段时候来建造。12年来，导演林克莱特每一年花几个礼拜来记实男孩梅森的糊口。
Watching the cast， which also includes Ethan Hawke and a remarkable Patricia Arquette， age before our eyes， adds an extra layer of poignancy to every single scene。
咱们看着全部剧组，包含伊桑·霍克和超卓的帕特丽夏·阿奎特，在面前渐渐发展、老去，每帧画面都是以增加了一抹酸楚滋味。
In an era when every aspect of society was accelerating， Linklater slowed down to tell the one of the definitive stories of our time。
在如许一个期间，社会的各个方面都在快节拍成长，而林克莱特却慢下步调，耐烦讲述了一个带有咱们这个期间强烈印记的故事。
– Matt Singer， ScreenCrush， US
六、标致心灵的永久阳光 Eternal Sunshine of the Spotless Mind （ 2004）
The story of a breakup gone wrong， Eternal Sunshine of the Spotless Mind could easily have gone wrong itself。 But this wasn‘t your average whimsical tale of romantic yearning。
这是一个分离分出一堆问题的故事，而片子自己也极有可能出问题。但它毫不是一部平凡的浪漫空想恋爱片。
Jim Carrey boldly pushed against type to portray a perennially sad man literally trapped by his grievances and eager to let them unravel。
影片主演金?凯瑞此次跳脱了他一向无厘头笑剧的气概，扮演了一个持久堕入郁闷和茫然，并尽力想逃离这一切的汉子。
But the movie belongs just as much to Kate 
Winslet， whose character‘s decision to erase her own memories of the ex-couple’s time together sets the drama in motion。
这部片子一样属于女主凯特?温丝莱特，她想把与前男朋友的影象从脑海中完全抹去的决议，鞭策着剧情戏剧性地成长。
– Eric Kohn， Indiewire， US
七、生命之树 The Tree of Life （2011）
Like a great poem， The Tree of Life opens itself to a thousand interpretations， as director Terrence Malick takes a spiritual and lyrical journey through time， from a dusty 1950s childhood in Texas back to the beginnings of the cosmos itself。
这是一部布满诗意的片子。从1950年月的少年韶光到宇宙的发源，导演泰伦斯·马力克率领观众的心灵在时空中优雅地穿梭跳跃。
This strange new pillar in the cathedral of US cinema stars Brad Pitt as an authoritarian father and Jessica Chastain as a tender and deeply religious mother of three sons。
这部片子荒诞却无疑是挺拔在美国片子殿堂中的新支柱。布拉德·皮彪炳演了一名父权至上，具有三个孩子的父亲，杰西卡·查斯坦扮演了和顺但一丝不苟遵守宗教信条的母亲。
E妹妹anuel Lubezki’s cinematography is sun-dappled， or oozes images of boiling lava， dinosaurs and exploding planets， all to a soundtrack of Preisner’s Requiem — in this case a requiem to a dead son。 The joys and aching losses of parenting become transcendent， even Biblical， in Malick’s hands。
在艾曼努尔·卢贝兹基镜头下的片子说话被日光晖映的班驳陆离，充溢着滔滔岩浆、恐龙和爆炸的星体，与泽贝纽·普瑞斯纳的安魂曲完善连系，那是为死去的孩子吹奏的安魂曲。在马力克的脚本中，这对怙恃亲的愉悦与哀痛被无穷放大，乃至有些《圣经》的气概。
– Kate Muir， The Times， UK
八、一 一Yi Yi： A One and a Two （2000）
Audiences in 2000 were astonished by how fluently Edward Yang’s Yi Yi portrays contemporary life through the intermingling stories of members of a Taipei family separated by the dile妹妹as specific to their stations in life。
2000年的观众都为《逐一》所震动——杨德昌若何能将一个台北家庭中各个成员的分歧故事混叠在一块儿论述，却极为天然流利地刻划出了今世糊口。故事里，一家人因堕入分歧生命阶段的特别窘境而相互隔断。
Yi Yi is a reverently meticulous film， with its painstakingly detailed moods， and rituals that are seemingly endemic to the characters and their customs。 Yet， it is also grandly universal。 Its quiet reflections on life， love， family and death are all gracefully affecting， no matter the gap in generation and culture。
《逐一》是一部居心至极的精巧片子，颇操心思地细腻抒怀，傍边触及的典礼场景带有处所性特点，贴合人物糊口情况的风俗。但同时，这部片子却又具备广泛性意义。非论观者与片子中的人事隔着怎么的年月与文化差别，它那极恬静的、对付生命、家庭与灭亡的映照都是那样美而有传染力。
– Oggs Cruz， Rappler， Philippines
九、一次分袂 A Separation （2011）
If there is a film that makes you take a deep look at yourself in the mirror again and again， this is it。 Asghar Farhadi’s searing relationship drama does not make a judgement about its characters。 Rather， it pitches the situations so realistically that the viewer ends up sympathising with both protagonists even though they are pitted against each other。
若是说有哪部片子能让你在看完后对着镜子堕入深沉思考，那毫无疑难就是它了。阿斯哈·法哈蒂强烈的戏剧冲突没有对任何脚色举行彻底的批驳。他将片子中的场景@刻%xu512%划得天%4CN34%然@真实，到头来还让观众为了互相熬煎的主人公们胸口发闷。
– Utpal Borpujari， Freelance， India
十、老无所依 No Country for Old Men （2007）
Readers of Cormac McCarthy’s No Country for Old Menput down the novel possessing a distinct image of its villain。 The Anton Chigurh on the page became vividly seared into our consciousness。 That image， though， is not Javier Bardem in the Coen Brothers’ Oscar-winner for best picture。
读过科马克·麦卡锡的小说《老无所依》的人城市对书中阿谁反派有一个光鲜印象。书中的冷血杀手安东·齐格已深深烙进咱们的意识中，那其实不是科恩兄弟这部奥斯卡获奖影片主演哈维尔·巴登的形象。
Yet Bardem’s film characterisation is so powerful， so splendidly overwhelming in his random application of violence， that he manages to extinguish whatever preceded it in the mind of the audience。
但是，巴登的演绎太有力度，他用随便不尽心的暴力表达富丽丽地将咱们礼服，把观众脑海中先前的印象一抹而光。
Set in West Texas in 1980， No Country for Old Men’s sense of time and place are unparalleled。 There’s a hypnotic quality to the movie’s pace， watching characters you can’t help but like make a series of catastrophic decisions that bring each into Chigurh’s universe， a world soaked in blood with a predetermined outcome。
《老无所依》布景是1980年的德州西部。整部片子的节拍带着催眠般的效劳，你看着那些你没法不爱的脚色做出一系列劫难性的决议，把本身送进杀手齐格的世界，而那是一个用血腥浸染的世界，一切成果都已预知。
– Ben Mankiewicz， Turner Classic Movies， US
十一、醉乡民谣 Inside Llewyn Davis （2013）
He‘s a messy haired loner stru妹妹ing an acoustic guitar， struggling to show the world he’s got talent。 No one cares， and no one wants to listen。
他独自一人不以为意地弹着民谣吉他，发丝缭乱，挣扎着奉告世界本身的才干。但无人立足，无人在乎。
Set in the Greenwich Village folk scene of the 1960s， the Coen brothers‘ Inside Llewyn Davis is an achingly melodic tribute to an unloved underdog。
故事产生在六十年月的美国格林威治村，科恩兄弟的这部作品刻画了一个没人关爱的失败者酸楚崎岖潦倒又旋律婉转的糊口。
Davis （Oscar Isaac） is striking out on his own after his musical partner goes solo。 Along his dour journey， he‘ll find others vying for similar success and others just trying to survive， in a very Coen-esque manner。
主角戴维斯（奥斯卡?伊萨克饰）在同伴拜别背面着吉他形单影只地独唱。在他阴郁的独行路上，他会发明另有人跟他同样挣扎着触摸光亮，另有不少人仅是低微地保存着，一切都以典范的科恩兄弟式的方法展示出来。
– Monica Castillo， The New York Times’ Watching， US
1二、十二宫 Zodiac （2007）
Zodiac， David Fincher‘s meticulous， gorgeous and haunting true crime movie， is a deep dive into obsession， following a newspaper cartoonist who becomes consumed by the 1970s Zodiac murders。
《十二宫》是大卫·芬奇一部细腻、冷艳、货真价实的犯法片子，看过耐久难忘。片子经由过程讲述一位报纸漫画家卷入70年月的十二宫连环杀人案的故事，深入地疯魔了一把。
Gloriously detail-driven， Zodiac drags viewers into a compulsive world where the smallest hint can be the biggest clue， and it presents the obsessive’s worst nightmare： that， in the end， answers are utterly unattainable。
片子在让人赞叹的细节中成长，把观众拖入一个欲罢不克不及的世界，最渺小的表示均可能是最大的线索。但是，却给了疯魔者们一个最惧怕的梦魇：原形永久不成通晓。
– Devin Faraci， BirthMoviesDeath， US
1三、人类之子 Children of Men （2006）
Here’s a bold statement about a bold movie： Children of Men， like no other film this century， and perhaps no other movie ever， solves the meaning of life。
给这部斗胆的片子下一个斗胆的评论：《人类之子》分歧于本世纪任何一部片子，或许悬殊于汗青上任何一部片子，答复了甚么是生命的意义。
Alfonso Cuarón’s staggering 2006 adaptation of PD James’ novel is rich and vital in its emotional and philosophical depth： its sadness， its anger， its reverence and worry for humanity。
阿方索·卡隆在2006年改编自PD·詹姆斯原著的这部使人震动的片子，在感情和哲学深度上都极其丰硕和首要：它的悲痛、它的愤慨，和对人道的跪拜和担心。
– Richard Lawson， Vanity Fair， US
1四、杀害演绎 The Act of Killing （2012）
Harrowing， confrontational and surreal， The Act of Killing ends with Anwar Congo， the gangster who murdered nearly 1，000 people in 1965-66 following the military coup in Indonesia， coming to terms with his heinous crimes。 Possibly。 He sobs， vomits and laments the lives he had willfully taken away， and yet we‘re never sure if he’s genuinely repentant or if it‘s all a high-wire act on his part。
熬煎人心、布满匹敌和不真实感的《杀害演绎》，在刽子手安瓦尔?冈戈（Anwar Congo）认可本身使人发指的恶行后竣事。从1965年到1966年，在印度尼西亚的军事政变后，安瓦尔屠戮了近千人。他为那些他任意杀戮的生命抽咽、吐逆、感慨，但咱们其实不晓得他是否是真的在反悔，或这只是他造作地演出。
The Act of Killing is a piercing， multilayered study about national amnesia， about the power of self-deceit and the questionable morality of truth-seeking。 Its status as the 21st Century‘s most celebrated documentary will likely be preserved for a long time to come。
这部片子是对举国遗忘一段汗青这类征象的深入而多条理的钻研，同时也是对自我坑骗的气力和追寻原形与品德角力的摸索。它作为21世纪最伟大的记载片的职位地方，将会久远地连结下去。
– Joseph Fahim， Freelance， Egypt
1五、四月三周两天 4 Months， 3 Weeks and 2 Days
One scene， one cut， zero music。 Cristian Mungiu‘s 2007 Palme d’Or winner is a touchstone of the Romanian New Wave， a stark wonder of a film exemplified by visual precision， a bracingly clear-eyed and glacial detachment。 Imbuing a backstreet abortion with the brutal tension of a crime thriller – and abortion was a crime in 1980s Romania – Mungiu evokes the callous and repressive atmosphere of Ceausescu‘s foundering dictatorship。
一个场景只有一个长镜头，没有布景音乐。蒙久这部作品摘得2007年金棕榈奖。作为罗马尼亚新海潮的试金石，它以正确的视觉、清楚的脚本和以超然的视角完成为了一次纯朴的冷艳。1980年月，罗马尼亚打胎仍是违法的，片中的机密打胎贯穿戴犯法惊悚片的严重感，让人想起了齐奥塞斯库专制统治下无情压制的空气。
– Maggie Lee， Variety， Hong Kong
1六、神圣车行 Holy Motors
在线旁观地点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》不是一部片子。它是一次哀痛的举措，却被设计为爱的表达，在影迷心中，片子顽童莱奥·卡拉克斯从童贞作起头就是位了不得的导演。他历来未曾像在本片中如许裸露本身，这部片子里，一个男人开着奢华车四周浪荡，以各类造型饰演分歧的脚色，与途经他生命的人们产生接洽又分开。古怪、愚笨、性感、哀痛，神圣车行是一次成心放置的路程，路过与片子有关的、在卡拉克斯心中有份量的一切。– Drew McWeeny， Hitfix， US
1七、潘神的迷宫 Pan‘s Labyrinth
在线旁观地点 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。德尔托罗让咱们一窥战役的可怕——在这里特指西班牙内战。德尔托罗关于内战的绮丽气象中，《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咱们讲了一个惨剧，潜入至一口充溢痛楚与邪术的深井。这部片子的气力来自其纯洁性：咱们想象不出任何比人类相互危险更可骇的事。
– Ana Maria Bahiana， Freelance， Brazil
1八、 白丝带 The White Ribbon
在线旁观地点“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。
“一群孩子成为缄默的犯法者”，这一设定已足够使人不安，但是哈内克还把布景设在一次世界大战数月前的德国村落，不单挑战了童年是无邪的这一神话，并且这个虚构的故事恍如是战役的前传。哈内克的片子老是发掘人道的罪行，而此中并无谁就应当遭到训斥。
– Fernanda Solórzano， Letras Libres Magazine， Mexico
1九、猖獗的麦克斯：狞恶之路 Mad Max： Fury Road
在线旁观地点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《猖獗的麦克斯：狞恶之路》燃爆了一颗现代贸易大片的炸弹。这个反乌托邦系列的第四部作品分歧于其他平铺直叙的好莱坞大片，而是用有凝结力的视线和有组织的路程讲述了保存和忍受的主题。米勒没有效便宜的愤世嫉俗来说故事，也没有决心塑造刚毅果敢的人物性情，而是把注重力放在营建情况的刺激上，好比精心建造的呆板、太阳烧灼的大地等等。– Justine A Smith， Freelance， Canada
20、纽约提喻法 Synecdoche， New York
在线旁观地点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 bri妹妹ing with empathy。 It’s a reminder that even at our lowest and darkest， we are not alone。
《纽约提喻法》讲的是咱们每小我都有过的深层惧怕，不言而喻：你的配头和孩子对你绝望，你爱的人孤傲痛楚地死去，你永久完成不了本身的作品，由于你也快死了，而你本身还浑然不觉。但抵牾的是，这些惧怕反而是一种必定。考夫曼的作品其实不欢畅，而是充溢着野心和怜悯心，它提示咱们，即便在最掉最暗中的时刻，咱们也其实不孤独。
– Angie Han， Slashfilm， US
2一、布达佩斯大饭馆 The Grand Budapest Hotel
在线旁观地点The Grand Budapest Hotel is the 21st Century‘s farewell salute to the century before。 It vaults backwards in time from today to 1985 to 1968 to 1932。 We know Gustave’s i妹妹aculate world is ticking towards destruction， first by war， then by decades of neglect。 Inevitably， the lazy and impersonal present will win， mass-producing not just our hotels， but our cinemas and the blockbusters on their screens。 Wes Anderson has spent his career fussing over wallpapers。 The Grand Budapest Hotel ennobles his craftsmanship。
《布达佩斯大饭馆》是21世纪向上个世纪的告新颖敬之作。本片的时候轴从当下起头，以后跳跃到了1985年、1968年和1932年。咱们晓得，古斯塔夫的完善世界正一点点走向扑灭，先是由于战役，接着则是几十年的冷视。不成防止地，这个怠惰且毫无个性确当当代界会克服曩昔，在当下，被大范围批量制造出来的不只是饭馆，另有咱们的片子院，和影院里的大片。韦斯·安德森以全部职业生活苦心孤诣地打造壁纸般唯美的镜头，《布达佩斯大饭馆》使他精巧的身手展露无遗。
– Amy Nicholson， MTV， US
2二、迷失东京 Lost in Translation
在线旁观地点Please stop trying to figure out what Bill Murray says to Scarlett Johansson at the end of Sofia Coppola‘s beautiful and ineffably bittersweet second film； the words don’t matter， and the moment is only so powerful because you can‘t hear them。 It’s this brief encounter on the streets of Shinjuku — this last goodbye between a dislocated young philosophy grad and a disenchanted old movie star — that solidifies Lost in Translation as her most perfect film， the one that best articulates how it can be to find yourself in a world that seldom lets you forget where you are。
请别再钻研比尔·墨菲最后对斯嘉丽·约翰逊说了甚么了，那些话其实不首要，那一刻之以是如斯具备传染力，恰是由于你听不到他们说了甚么。索菲亚·科波拉的第二部作品《迷失东京》既甜美又忧伤，有种难以言喻的标致。年青的哲学系女结业生与过气的片子明星，身处他乡的两人，在新宿陌头的短暂相遇，最后一次相互辞别，恰是这些使得《迷失东京》成为索菲亚·科波拉最优异的作品。它讲述的是，不管身处何方，到头来人始终没法健忘本身的身份。
– David Ehrlich， Indiewire， US
2三、暗藏摄像机 Caché
在线旁观地点Daniel Auteuil and Juliette Binoche star as a bourgeois Parisian couple that start to receive disturbing video tapes showing their home。 Who is watching them？ And what is actually revealed on those tapes？ As soon as you realise that the true revelation lies in the couple‘s reaction to the tapes， things start to dissolve。 Interior and exterior conflict， individual and collective guilt become one。
丹尼尔·奥图和朱丽叶·比诺什扮演的一对巴黎中产阶层佳耦收到了奇异的录相带，这些录相带显示有人瞩目着他们家的一举一动。谁在瞩目着他们？这些录相带又揭露了甚么？想要揭开这个机密，佳耦俩对录相带的反响是关头。当你意想到这点时，原形起头浮出水面。内涵与外在冲突、小我与团体恶行合二为一。
– Hannah Pilarczyk， Der Spiegel， Germany
2四、大家 The Master
Paul Thomas Anderson‘s ambitious， powerful and ultimately elegiac masterpiece centres on the question of whether man is， in fact， an animal。 Tormented alcoholic Freddie Quell returns from World War Two and struggles， unsuccessfully， to conform to post-war America’s social evolution。
保罗·托马斯·安德森这部弘大的佳构颇具传染力，其底子是忧伤的，它探究的是，人究竟是不是动物。饱受苦难的酒鬼弗莱迪·奎尔从二次大战退伍回家后，没法顺应战后美国社会的变革。
Eventually he finds some sort of deliverance in the company and teachings of the leader of an urban cult， Lancaster Dodd。 Much has been made of the analogies between Scientology and Dodd‘s cause， but the real point of the film is an exploration of thought and consciousness， and whether submission to belief systems can genuinely tame atavism。
在宗教狂热份子兰卡斯特·多德的伴随和辅导下，他找到了某种摆脱。不少人拿多德的宗教跟科学神教作类比，但本片真实的目标在于，摸索思惟和意识，和信仰某种信奉系统可否真正降服返祖征象。
– Ali Arikan， Dipnot TV， Turkey
2五、影象碎片 Memento
在线旁观地点Christopher Nolan‘s Memento， an airtight puzzle of a movie about a man who can’t form new memories searching for his wife‘s killer， set a standard for narrative sophistication that few mainstream films have tried to duplicate。 The film forces us to consider the unreliability of human memory and our tendency toward self-deception， even as it thrills us with a captivating crime-noir story。 An existential tragedy masquerading as a twisty bit of pulp fiction？ Unforgettable。
诺兰的《影象碎片》讲述了一个失忆男人寻觅杀死老婆的凶手的故事。这个自作掩饰的谜题为周密繁杂的叙事建立了一个尺度，主流片子中少有仿照者。这部惹人入胜的玄色犯法片迫使咱们思虑人类影象的不成靠和掩耳盗铃的偏向。看似迂回曲折的粗鄙小说，实则一出存在主义的惨剧。使人难忘。
– Eric D Snider， Freelance， US
好了，今天小编的小火车讲堂就先暂告一段落了，小天使们，这些tips你们记着了吗？
