Best Movies of 2020
The screening rooms were closed. The festivals were virtual. The blockbusters were in storage. Even so, our critics found abundant and inspiring signs of cinematic life in the pandemic.

【2020年最佳电影】
(影院关闭。影展虚拟举办。大片锁在仓库。即便如此,我们的影评家还是在新冠流行期间的电影中,发现了丰富多彩和鼓舞人心的迹象。)

MANOHLA DARGIS
I Watched Until My Eyes Bled
It was a year of watching obsessively yet indiscriminately, a year of small and smaller screens. On one lost day not long ago, I spent a horrifying (embarrassing!) 11 hours and 15 minutes on my phone. I read the news, doomscrolled Twitter, did puzzles, checked my email and kept scrolling. It’s no wonder that my eyes had begun to regularly ache and sometimes sting, prompting me to worry that I needed a new prescxtion for my glasses. I didn’t, I just needed to stop watching, but I couldn’t put down my phone, which tethered me to the larger world that I greatly missed.

一、【我看到双眼充血】——影评人:曼诺拉·达吉斯(MANOHLA DARGIS)
这是沉迷于饥不择食地观影的一年,是观看屏幕越来越小的一年。不久前的一天,我用手机恐怖地连续浏览了11小时15分钟(囧!)。我阅读新闻、刷推特、做猜谜游戏、查阅我的电子邮件,并不停地滚动刷新。我的眼睛开始持续酸涩甚至有时还会刺痛,以至于怀疑需要去重新配副眼镜,这些也就不足为怪了。而我没有(去配),其实我只需要停止观看,但我无法放下手机,这使我怀恋那个我非常想念的广阔世界。

The point of a top 10 list is to share our preferred movies. But in thinking about my favorites of the year and all the many new and old titles I’ve seen, I also thought a lot about how I watched movies and, well, just watched. A big-screen fundamentalist, I love going out to the movies, to first- and second-run cinemas as well as to art houses, museums and cinémathèques. I know which theater and studio in Los Angeles (where I live) has the biggest screen, the best sound, sightlines and seats — me, I like to sit in the middle of the theater, perfectly centered.

十大最佳电影榜单的重点是分享我们喜欢的电影。但在回想我今年最喜欢的电影,以及我看过的所有新老电影的片名时,我也想起了关于自己是如何看这些电影的很多情景,那,只是凑合着看。作为大屏幕的热衷者,我喜欢外出去看电影,去首映和第二轮放映的电影院看,以及去艺术馆、博物馆和电影资料馆看。我知道洛杉矶(我的居住地)哪家剧院和演播厅的屏幕最大、音响最好、以及座位对应的视线——我喜欢坐在剧院中间,完美的中心。

When movie theaters closed in Los Angeles in March, I cried. (They’re still closed.) The tears of critics are tiny, but moviegoing is who I am. I grew up in New York in the 1970s watching as many films as I could, including on TV. But going to the movies was one of my first adventures in sovereignty, one of the first ways that I experienced navigating ordinary life without parental supervision. Moviegoing was my thing, a way of seeing and of being. Up until March, it was also instrumental to how I understand time, its shape, texture and demands: moviegoing dictated what I did day and night, including the many hours I clocked driving to and from screenings.

当三月份洛杉矶的电影院封闭时,我哭了(它们仍在封闭中)。影评人的眼泪微不足道,但欣赏电影是我生命的要义。70年代我在纽约成长的过程中,我如饥似渴地看电影,也包括电视。但是外出去看电影是我尝试独立自主的第一次冒险,也是我第一次脱离父母的监督出去体验平常人生的方式之一。看电影于我是大事,是一种观察和存在的方式。一直到三月份,它也帮助了我如何去理解时间及其状态、构成和要求:看电影促使我安排昼夜的行程,包括我开车往返影院荧屏所花费的那些时光。

Like a lot of people, I have felt unmoored this year partly because of how I now experience time. I’ve long worked from home, but to review movies, I go to theaters. So I found it challenging learning to watch the movies I was reviewing at home, how to respect the focus they required and deserved, how to sit — and keep sitting — on the sofa and not hit the pause button, not check Twitter. It didn’t help that we have a lot of windows, which made it impossible to replicate a dark screening room, even with the shades drawn. So, staying classy, I hung sheets over the shades and even taped Trader Joe’s shopping bags over one small window, which was as ridiculous as it sounds.

像很多人一样,今年我也感到偏离常轨,部分原因是我现在花费时间的方式。我长期在家工作,但我会为了评价电影而去剧院。因此,我发现学着在家里看我要评论的电影,设法保持需要和应有的专注、坐下——坐好——在沙发上不按暂停键、不刷推特等,相当有挑战性。我家里有很多窗户,因此即使拉上窗帘,也难以营造出一个较暗的放映室。因此,为了获得理想的观影环境,我将床单挂在窗帘上,甚至将Trader Joe的购物袋用胶带贴在一个小窗户上,听起来实在有些滑稽。




Every so often, someone asks what I think will happen to movies. I haven’t a clue, beyond my conviction that good, bad and indifferent ones will continue to be produced, distributed and exhibited. How and what we watch, though, is much less certain. What we do know is that the American movie industry has weathered — and profited from — a succession of cataclysmic crises from its monopolistic foundation to the coming of sound, the end of the old studio system and the introduction of television and of home video. The advent of streaming has added another chapter in a history that will continue to morph and outlive any one company or crisis. Time will tell, and so will we.

每隔一段时间,就会有人问我认为电影的将来会怎样。我无法预言,只能说我相信,无论好的、坏的和毫无营养的内容肯定都将继续被制作、分发和播出。不过,我们怎么观看,看什么,就不那么肯定了。我们所知道的是,美国电影业已经度过了不少危机——并受益于这些危机——从其垄断性根基到有声电影出现、到老摄影棚体系的终结、再到电视和家庭录像的出现等一连串灾难性的危机(及其引发的变革)。流媒体技术的出现为这段历史增添了新的篇章,历史将继续演变,而任何一家公司或任何一场危机,都不过是历史中飘过的一粒微尘。时间将会揭晓一切答案,我们也将会如此。


1. ‘Martin Eden’ (Pietro Marcello)
In this brilliant take on the Jack London novel of the same title, Luca Marinelli plays an autodidact who abandons the working class to embrace a soul-and-world-destroying bootstraps ideology. (Watch on Kino Marquee.)

1.《马丁·伊登》(Martin Eden)——皮耶特罗·马切罗(Pietro Marcello)执导
在这部改编自杰克·伦敦(Jack London)同名小说的精彩影片中,卢卡·马里内利(Luca Marinelli)饰演一个自学成才者(译注:出身水手的作家),他努力挣脱(自己所属的)体力劳动阶级,转而拥抱了一种毁灭灵魂和世界的自命不凡的意识形态。(译注:他,为爱读书,为爱写作,似乎找到了爱情和功名,却在颓废中迷失了自我,结局是,红日、大海…还是不剧透吧)(可在Kino Marquee上观看。)

2. ‘City Hall’ (Frederick Wiseman)
Frederick Wiseman, one of America’s greatest, most generous chroniclers, brings you into Boston’s City Hall, where men and women help make a city — and democracy — work. (Watch through virtual cinemas.)

2. 《波士顿市政厅》(City Hall)——弗雷德里克·怀斯曼(Frederick Wiseman)编导
弗雷德里克·怀斯曼(Frederick Wiseman)是美国最伟大,最富产的纪录片大师之一,他带您进入波士顿的市政厅,呈现在那里为城市和“民主”的运转而工作的男男女女们。(可通过“虚拟电影院”观看。)

3. ‘Gunda’ (Victor Kossakovsky)
A sow gives birth to a charmingly rambunctious litter and a one-legged chicken roams blissfully free in this intimate, exquisitely beautiful look at animal life from the ground up. (Watch through virtual cinemas starting Dec. 11.)

3. 《贡达》(Gunda)——维克多·科萨科夫斯基 (Victor Kossakovsky)执导
故事开始于一只母猪(译注:它的名字就是片名“贡达”,取自德语,意为“战士”),生下了一窝喧闹可爱的小猪,它们和一只独腿的小鸡快活自在地为伴,影片以敏锐、巧妙地视角对准了动物们的生活。(译注:这是一部获国际大奖的纪录片,自然不会是简单的动物田园风光片,影评如此,大概是避免剧透。但至少该提到既然是“动物们的生活”,而生活从来不会一帆风顺,生活就会有变幻莫测的“命运”,它们的生活,自然也不例外……)(12月11日起,可通过“虚拟电影院”观看。)

4. ‘David Byrne’s American Utopia’ (Spike Lee)
Given how great it looks, how superbly it moves, how glorious it sounds and how high it sends me, it should be titled “Spike and David Are Here to Take You Away from 2020.” (Watch on HBO Max.)

4. 《大卫·伯恩的美国乌托邦》(David Byrne’s American Utopia)——斯派克·李(Spike Lee)执导
鉴于这部片子的视觉效果之棒、声音效果之可圈可点、动作之出色、给人感受的境界之高,它应该被命名为《斯派克和大卫带你摆脱郁闷的2020年》。(可在HBO Max观看。)

5. ‘Bacurau’ (Juliano Dornelles and Kleber Mendonça Filho)
This exhilarating genre-buster mixes high and low to upend the classic story of the town forced to battle outside evil. Funny, weird, bloody and deeply political. (Watch on streaming platforms.)

5. 《巴克劳》(Bacurau)——儒利亚诺·多赫内利斯和小克莱伯·门多萨联合执导
这部令人振奋的、突破型式的影片高低混合(译注:疑指乘坐飞行器的入侵者的“高”地位、和代表他们的故事线和拍摄视角,以及“低”地位的居民们的故事线和视角,两者交叉推进),颠覆了“小镇被迫与外界邪恶势力作斗争”的传统故事。搞笑,怪异,血腥(译注:该片的暴力画面,是看点之一),具有深刻的政治意味。(译注:影片拍摄于巴西,疑似有影射巴西暴力活动猖獗、生态破坏严重等,以及美国的特朗普主义者、号称“巴西特朗普”的巴西总统等所代表的政治势力的内容)。(可在“流媒体平台”上观看。)

6. ‘First Cow’ (Kelly Reichardt)
A tender story of male friendship and a rebuke to rugged individualism, Kelly Reichardt’s drama offers an alternative to the triumphalism of most frontier stories. And the cow is lovely. (Watch on streaming platforms.)

6. 《第一头牛》(First Cow)——凯莉·莱卡特(Kelly Reichardt)执导
这是一个关于男性友谊的温情故事,一反(类似西部片题材)粗犷的的风格,凯莉·莱卡特(Kelly Reichardt)的影片,为大多数西部片中的张扬和暴力的老套,提供了一种另类的风格。顺便提一下,片中的奶牛很可爱。(可在“流媒体平台”观看。)

7. ‘Never Rarely Sometimes Always’ (Eliza Hittman)
You can feel the rage wafting off the screen in this drama about a teenager’s difficult quest to obtain an abortion. Scene by scene, you can also see the terrific filmmaking. (Watch on streaming platforms.)

7. 《从不,很少,有时,总是》(Never Rarely Sometimes Always)——伊丽莎·希特曼(Eliza Hittman)执导
在这部讲述一位少女堕胎所遭遇的艰难的影片中,你可以感受到从屏幕上溢出的愤怒。你也可以一幕接一幕地看到该片精彩的电影制作。(可在流媒体平台观看。)


9. ‘The Forty-Year-Old Version’ (Radha Blank)
There’s Woody Allen’s New York, Spike Lee’s and now Radha Blank’s. As a floundering playwright in the midst of a crisis, Blank stakes a claim on the romance of artistic struggle, making it her own with wit, rap, an open heart and a burst of glorious color. (Watch on Netflix.)

9. 《40冲一波》(The Forty-Year-Old Version,又名《女人40玩说唱》)——拉达·布兰克(Radha Blank)执导
已经有了伍迪·艾伦(Woody Allen)拍的纽约、斯派克·李(Spike Lee)拍的纽约,现在又有了拉达·布兰克(Radha Blank)拍的纽约。作为一个在危机中挣扎的剧作家,布兰克凭借其敏捷的才思、说唱艺术、开放的心态和一种值得称道的特色,发出追求艺术的浪漫主义宣言。(可在Netflix上观看。)

10. ‘Beanpole’ (Kantemir Balagov)
This tragic, painful, dazzlingly directed drama takes place in the Soviet unx right after the Second World War. Balagov is a heartbreaker, and a major talent. (Watch on streaming platforms.)

10. 《豆杆儿》(Beanpole,或译《瘦高个》)——坎特米尔·巴拉戈夫(Kantemir Balagov)执导
这部悲情、痛苦、令人炫目的影片,发生在第二次世界大战后的苏联。巴拉戈夫(Balagov)的这部作品令人心碎,展现出其惊人的才华。(可在“流媒体平台”观看。)




1. ‘Borat Subsequent Moviefilm’ (Jason Woliner)
Would I call this the best movie of 2020, from the standpoint of cinematic art? Look, I don’t know. It’s been a weird year. But I would insist that this sequel to a cringey, pranky, 14-year-old classic is undeniably the most 2020 movie of all time. This is partly because Sacha Baron Cohen and his collaborators — including Maria Bakalova, the phenomenal Bulgarian actress who plays Borat’s daughter, Tutar — worked through the first months of the pandemic and the start of the presidential campaign, giving their antics a present-tense flavor that went beyond mere relevance.

1. 《波拉特2》(Borat Subsequent Moviefilm)——杰森·威奈勒(Jason Woliner)执导
从电影艺术的角度看,我能称之为2020年的最佳影片吗?我也不知道。这是不同寻常的一年。但我坚持认为,这部十四年前怪诞不经、恶作剧的经典之作的续集,无疑是最适合2020年的电影。部分原因是萨夏·巴伦·科恩(Sacha Baron Cohen)和他的合作者们——包括扮演波拉特之女图塔(Tutar)的、出色的保加利亚女演员玛丽亚·巴卡洛娃(Maria Bakalova)——通过在疫情以及总统竞选开始时的头几个月里不懈地投入,使他们的滑稽表演超越了单纯的意义,有了一种现在进行时的意味。

But this new Borat adventure also captured the feeling of its moment with dismaying accuracy. Once again, Cohen’s friendly, idiotic alter ego arrived on our shores from Kazakhstan to show Americans as we really are. Which is appallingly bigoted, ignorant and paranoid, but also disarmingly polite and kind to strangers. There is something touching about the part of the movie in which Borat quarantines with a pair of QAnon believers who later help him find Tutar at an anti-mask MAGA rally. And a welcome dose of noncomedic humanity arrives in the person of Jeanise Jones, who patiently tries to free Tutar’s mind from its patriarchal prison.

但波拉特(Borat)的这次新冒险,也以令人惊愕的准确性捕捉到了今日美国的感觉。科恩(Cohen)那友好又白痴的另一个自我(波拉特),从哈萨克斯坦来到了我们的海岸,再次让美国的真实面貌暴露无遗。(这些面貌)是令人震惊的盲从,无知和偏执,但也对陌生人表现出没有敌意的礼貌和友好。片中有一段感人的情节,是波拉特与两个QAnon信徒(译注:指阴谋论组织“匿名者Q”的信徒)在一起隔离,这两人后来在一场“让美国再次伟大”(MAGA)的反口罩集会上,帮他找到了图塔(Tutar)。当珍妮丝·琼斯(Jeanise Jones)试图耐心地将图塔的思想从父权的禁锢中解放出来时,影片不再单纯搞笑地被赋予人性,令人欣慰。

Not that “Borat Subsequent Moviefilm” offers much in the way of comfort. When satire and documentary converge, it’s a sign that both have reached a dead end. The truth won’t necessarily set you free. Laughter might not be any medicine at all. There is admirable rigor both in the ways Cohen constructs his gags and in his understanding of their limits. The movie is extremely funny, but it won’t cheer you up. Reality, in any case, went beyond even Cohen’s scabrous imagination. He and Bakalova might have contrived to embarrass President Trump’s personal lawyer, Rudolph W. Giuliani, in a New York hotel room, but Cohen can only envy whatever comic deity organized that postelection press event in a Philadelphia parking lot, next door to a sex shop and across the street from a crematory. Not even Borat would go there.

这不是说《波拉特2》能给人带来多少慰籍。当讽刺与纪录片元素结合,就意味着两者都陷入了僵局。真相不一定让你自在。笑声或许根本不是良药。无论是科恩制造噱头的方式,还是他对其界限的理解,都带着值得称道的严谨。这部电影非常有趣,但它不会让你感觉鼓舞人心。不管怎样,现实都比科恩荒诞不经的想象更加不堪。他和巴卡洛娃是可以让特朗普总统的私人律师鲁道夫·W·朱利安尼(Rudolph W. Giuliani),在纽约一家酒店的房间里颜面尽失。但相比那个在费城一处紧邻性用品商店且对街就是火葬场的停车场里,开大选后的新闻发布会的天才的喜剧大神,就算是科恩(的想象力),也只得甘拜下风。就连波拉特(Borat)都想不到去那种地方。(译注:此处吐槽特朗普团队本来想预订四季酒店开新闻发布会,但却订成了在成人用品店和火葬场之间的“四季园艺景观”所在的停车场举行。上一句指的是该片女演员伪装女记者在酒店采访特朗普律师,令其在隐蔽摄像头前色心大动行为不端;而这种在现实世界中,偷拍恶搞真实人物,并制作进影片的方式,正是本片的重要特色。《波拉特:为了近期式微的哈萨克斯坦的利益送给副总统迈克儿·彭斯的色情猴子礼物》为本片全名)。

Borat’s ultimate embrace of I’m-the-father-of-a-daughter feminism is sweet, and it tempers the bitterness of the film’s ending. This moviefilm, like the first episode, is the tale of two countries, a fantasy Kazakhstan and an actual “U.S. and A.” At the end of this chapter, one of those countries stands as an example to the world, a place of progress, enlightenment, responsible journalism and respect for science. The other, once glorious, has descended into brutishness and superstition. I won’t spoil it by telling you which is which. (Watch on Amazon.)

波拉特对“我是女儿的父亲”女权主义的终极拥抱是甜蜜的,它缓和了电影结局的苦涩。这部电影和第一部一样,讲述了两个国家的故事,一个是幻想中的哈萨克斯坦,一个是现实中的美国。在片子最后,这两国中之一成为了世界榜样,是一个进步、启蒙、新闻可信赖和科学受尊重的地方。而剩下那个曾经辉煌的国家,却堕落成野蛮和迷信之地。我不会给你们剧透哪国是哪个结局。(在亚马逊观看。)

2. ‘City Hall’ (Frederick Wiseman)/‘Collective’ (Alexander Nanau)
Hatred of government and contempt for journalism are staples of the modern anti-democratic mind-set, and these documentaries offer powerful counterarguments. Frederick Wiseman’s long, contemplative look at the workings of Boston’s municipal administration becomes a symphony of process, a demonstration of how democracy abides in the absence of drama. Alexander Nanau’s hair-raising chronicle of lethal official corruption in Romania is, by contrast, intensely dramatic — an exposé of horrific governmental dysfunction and heroic efforts to combat it that will make your heart race and your blood boil. Together, these films suggest that patience and rage are vital and complementary civic virtues. (Watch “City Hall” through virtual cinemas; watch “Collective” on streaming platforms.)

2. 《波士顿市政厅》——弗雷德里克·怀斯曼执导
/《科莱采夫》(《集体》)——亚历山大·纳诺执导
对政府的仇视和对新闻的蔑视,是当代反民主思潮的合订本,而纪录片《波士顿市政厅》对此进行了“强力反驳”。弗雷德里克·怀斯曼将他对波士顿市政当局运作的长期观察思考,变成了一部交响乐的进行曲,展示了在没有戏剧性事件的情况下,如何“恪守”民主。
相比之下,亚历山大·纳诺针对罗马尼亚致命的官场腐败,制作的令人毛骨悚然的事件记录,则极具戏剧张力——它展现了可怕的政府失职和与之斗争的英勇努力,这将让你心跳加速,血脉贲张。归纳起来,两部影片表明坚毅和嫉恶如仇都是必不可少、并相辅相成的公民美德。(可在“虚拟影院”观看《波士顿市政厅》;可在“流媒体平台”观看《科莱采夫》。)

3. ‘First Cow’ (Kelly Reichardt)
Kelly Reichardt’s latest quasi-western is a quiet study of friendship and a biting critique of global capitalism — as manifested in 19th-century Oregon Territory. Orion Lee and John Magaro are wonderful as a pair of misfits whose snack-cake start-up falls afoul of supply-chain problems, questionable business practices and ruthless human greed. (Watch on streaming platforms.)

3. 《第一头牛》(First Cow)——凯莉·莱卡特(Kelly Reichardt)执导
凯莉·莱卡特最新的这部准西部片,是对友情平静的研讨,以及对全球资本主义的尖锐批判——正如在十九世纪俄勒冈州的土地上所呈现的那样。奥利恩·李(Orion Lee)和约翰·马加洛(John Magaro)精彩演绎了两个不合群的人物,他们创业的点心-蛋糕店,陷入了供应链问题、有问题的商业行为和无情的人类贪婪等麻烦中。(可在“流媒体平台”观看)

4. ‘Martin Eden’ (Pietro Marcello)
Jack London’s autobiographical novel, published in 1909, has long been more popular in Europe than in the land of London’s birth, and Pietro Marcello’s wild screen version is both an earnest love letter and a brazen act of cultural and imaginative appropriation. Martin (the insanely hot Luca Marinelli) has been transplanted to Naples and given pretty much the whole 20th century as the backdrop for his ardor and ambition. Literature, politics, class struggle, sex — it’s all here in a seething, perpetually surprising epic that obliterates the distinction between realism and fantasy. (Watch on Kino Marquee.)

4. 《马丁·伊登》(Martin Eden)——皮耶特罗·马切罗(Pietro Marcello)执导
杰克·伦敦出版于1909年的自传体小说《马丁·伊登》,长期以来在欧洲比在其诞生地(美国)更受欢迎,皮耶特罗·马切罗的这个狂野的电影版既是一封热忱的情书,也是一次明目张胆的文化和想象力的克隆。马丁(由红得发紫的卢卡·马里内利出演)被移植到那不勒斯,几乎整个20世纪都被当作他激情和野心的背景。文学、政治、阶级斗争、性爱——抹去现实和理想的界限,这一切尽在这部沸腾的、异乎寻常的史诗中不断涌现。(可在Kino Marquee观看)

5. ‘The Forty-Year-Old Version’ (Radha Blank)
Radha Blank is a wonderful character — insecure, funny, decent, vain. Radha Blank, who plays her, is a terrific performer, supplying compassion and also the unflinching candor that is a necessary ingredient in any kind of memoir. Best of all, Radha Blank, making her feature debut, is a brilliant filmmaker, with an eye for the absurdities of New York theater and for the glorious theater of the city itself. (Watch on Netflix.)

5. 《40冲一波》(The Forty-Year-Old Version,又名《女人40玩说唱》)——拉达·布兰克(Radha Blank)执导
拉达·布兰克是一个精彩的人物角色——不安、逗趣、得体、自负。饰演自己的拉达·布兰克是一个绝妙的表演者,忠实地将自身情感赋予角色,并又毫不忌讳地坦诚自我,这是任何形式的自传体题材必备的要素。最重要的是,呈上自己特殊的处女作的拉达·布兰克,是一个才华横溢的电影制作人,敏锐地觉察到纽约剧院的荒诞,以及城市本身就是个壮阔多彩的大剧院。(可在Netflix观看)

6. ‘Palm Springs’ (Max Barbakow)
Cristin Milioti and Andy Samberg meet not-very-cute at the start of this variation on the themes of “Groundhog Day,” and search for love and meaning in a world of diminished expectation and endless repetition. The filmmakers (Max Barbakow directed; Andy Siara wrote the screenplay) didn’t set out to make a quarantine love story, but something about the way the central pair does battle with boredom, anxiety and the temptations of cynicism made this a balm and a bright spot in a dreadful, seemingly interminable year. (Watch on Hulu.)

6. 《棕榈泉》(Palm Springs)——麦克斯·巴巴科夫(Max Barbakow)执导
在这部类似《土拨鼠之日》(Groundhog Day)的(时光轮回主题的)影片中,克里斯汀·米里奥蒂(Cristin Milioti)和安迪·萨姆伯格(Andy Samberg)的相遇并不浪漫,他们在一个期待值越来越低、没完没了时光轮回的世界里,寻找着爱和生命的意义。电影制作人(麦克斯·巴巴科夫Max Barbakow执导;安迪·西亚拉Andy Siara编剧)本就不打算拍一部隔离期间的爱情故事片,而是着墨于两位主人公(在不断轮回的生活中)与无聊、焦虑和玩世不恭的诱惑做斗争,这让本片成为这仿佛没有尽头的糟糕的一年中,应景的一丝抚慰和亮点。(可在Hulu观看)

7. ‘Bacurau’ (Juliano Dornelles and Kleber Mendonça Filho)
Udo Kier and Sônia Braga! Science fiction and western! “Bacurau,” named for a fictional town in the Brazilian backlands, is a rollicking, violent adventure whose defiance of genre and narrative convention stands for a more general — and more pointed — form of defiance: against the arrogance of power; against the legacies of colonial cruelty and slavery that still afflict modern Brazil; against the authoritarian impulse to erase history, suppress joy and ignore urgent messages from the future. Which is what this movie, above all, seems to be. (Watch on streaming platforms.)

7. 《巴克劳》(Bacurau)——儒利亚诺·多赫内利斯和小克莱伯·门多萨联合执导
乌多·基尔(Udo Kier)和索尼娅·布拉加(Sônia Braga)搭档!科幻片和西部片混搭!《巴克劳》取名来自一个虚构的巴西边远地区的小镇之名,这部喧闹、暴力的惊险故事片蔑视电影流派和叙事常规,而构建了一种更加宽泛——也更尖锐——的叛逆形式:反抗权力的傲慢;反抗至今仍困扰当代巴西的殖民暴行和奴隶制的历史遗存;反抗威权主义试图抹杀历史、压抑(追求)欢乐、无视来自未来的危机讯息。这些,似乎才是这部电影最想要承载的。(可在“流媒体平台”观看)

8. ‘David Byrne’s American Utopia’ (Spike Lee)/‘Lovers Rock’ (Steve McQueen)
What do you miss more, live performances or house parties? These films, driven by music and the movement of bodies in enclosed space, are full of joy and desire even as they recognize how hard life can be. “Lovers Rock,” the shortest, sweetest chapter in Steve McQueen’s “Small Axe” anthology, unfolds in a single night in London in the early 1980s. “American Utopia,” directed by Spike Lee, captures a performance of David Byrne’s omnibus 2019 show at the Hudson Theater in New York. In both cases, the medium is the message and the pleasure is the politics. (Watch “American Utopia” on HBO Max; watch “Lovers Rock” on Amazon.)

8. 《大卫·伯恩的美国乌托邦》——斯派克·李(Spike Lee)执导
/《恋人摇滚》(Lovers Rock)——史蒂夫·麦奎恩 (Steve McQueen)执导
现场演出和家中的聚会,你更怀念哪个?,即使他们清楚生活是何其艰难,这类由音乐和身体的舞动在封闭空间内构建的电影,仍然充满欢愉与欲望。《恋人摇滚》是史蒂夫·麦奎恩的《小斧头》(Small Axe)选集中最短、最甜美的一章,讲述了二十世纪八十年代初伦敦一个夜晚的故事。
斯派克·李执导的《美国乌托邦》,记录了大卫·伯恩2019年在纽约哈德逊剧场的一场综合性演出。在两部影片中,媒介即信息,快乐即政治。(可在HBO Max观看《大卫·伯恩的美国乌托邦》;在Amazon观看《恋人摇滚》)

9. ‘Dick Johnson Is Dead’ (Kirsten Johnson)
Kirsten Johnson’s movie is a documentary that walks up to the very edge of knowable reality, contemplating the mysteries of death, memory and human consciousness. It’s also an imaginative collaboration between the filmmaker and her father, a retired psychiatrist with dementia, who together act out scenarios of paternal demise. The result is funny and shocking, ghoulish and surpassingly humane. (Watch on Netflix.)

9. 《迪克·约翰逊的去世》——克斯汀·约翰逊(Kirsten Johnson)执导
克斯汀·约翰逊的这部电影是一部纪录片,一部走向可知现实的边缘,思考着死亡、记忆和人类意识的奥秘的纪录片。这也是这位电影制作人,和她患有痴呆症的父亲(前精神病医生)之间富有想象力的合作,他们一起“演出”了父亲去世的情景。最终的结局,有趣又令人震惊,病态又超越人性。(可在Netflix观看)

10. ‘Soul’ (Pete Docter)
The message of the latest Pixar feature — a lyrical, metaphysical tale of a jazz pianist’s adventures in the afterlife — is that it’s good to be alive. The movie was originally slated for release in the spring, so the filmmakers could not have imagined just how timely, and how welcome, that message would feel. (Watch on Disney+ starting Dec. 25.)

10. 《心灵奇旅》(Soul)——彼特·道格特(Pete Docter)编导
这部皮克斯(Pixar)的最新作品——讲述一个抒情的、形而上学的爵士钢琴家死后经历的故事——所传达的信息是,“活着真好”。该片原计划在春季上映(译注:疫情泛滥前),因此电影制作人无法想象这一信息会有多么合乎时宜、多么深入人心。(12月25日起,可在Disney+观看。)