BBC：21世纪最伟大的25部电影盘点(五)

21

布达佩斯大饭店

The Grand Budapest Hotel

导演：韦斯·安德森(Wes Anderson)

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 immaculate 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.

《布达佩斯大饭店》是21世纪向上个世纪的告别致敬之作。本片的时间轴从当下开始，之后跳跃到了1985年、1968年和1932年。我们知道，古斯塔夫的完美世界正一点点走向毁灭，先是因为战争，接着则是几十年的漠视。不可避免地，这个懒惰且毫无个性的当今世界会战胜过去，在当下，被大规模批量制造出来的不只是饭店，还有我们的电影院，以及影院里的大片。韦斯·安德森以整个职业生涯苦心孤诣地打造壁纸般唯美的镜头，《布达佩斯大饭店》使他精妙的技艺展露无遗。

– Amy Nicholson, MTV, US

22

迷失东京

Lost in Translation

导演：索菲亚·科波拉(Sofia Coppola)

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.

请别再研究比尔·墨菲最后对斯嘉丽·约翰逊说了什么了，那些话并不重要，那一刻之所以如此具有感染力，正是因为你听不到他们说了什么。索菲亚·科波拉的第二部作品《迷失东京》既甜蜜又哀伤，有种难以言喻的美丽。年轻的哲学系女毕业生与过气的电影明星，身处异乡的两人，在新宿街头的短暂相遇，最后一次互相告别，正是这些使得《迷失东京》成为索菲亚·科波拉最优秀的作品。它讲述的是，无论身处何方，到头来人始终无法忘记自己的身份。

– David Ehrlich, Indiewire, US

23

隐藏摄像机

Caché

导演：迈克尔·哈内克(Michael Haneke)

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·比诺什饰演的一对巴黎中产阶级夫妇收到了奇怪的录像带，这些录像带显示有人注视着他们家的一举一动。谁在注视着他们?这些录像带又揭示了什么?想要揭开这个秘密，夫妇俩对录像带的反应是关键。当你意识到这点时，真相开始浮出水面。内在与外在冲突、个人与集体罪行合二为一。

– Hannah Pilarczyk, Der Spiegel, Germany

24

大师

The Master

导演：保罗·托马斯·安德森(Paul Thomas Anderson)

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·安德森这部宏大的杰作颇具感染力，其根本是哀伤的，它探讨的是，人到底是不是动物。饱受磨难的酒鬼弗莱迪·奎尔从二次大战退伍回家后，无法适应战后美国社会的变化。

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.

在宗教狂热分子兰卡斯特·多德的陪伴和教导下，他找到了某种解脱。很多人拿多德的宗教跟科学神教作类比，但本片真正的目的在于，探索思想和意识，以及信奉某种信仰体系能否真正克服返祖现象。

– Ali Arikan, Dipnot TV, Turkey

25

记忆碎片

Memento

导演：克里斯托弗·诺兰(Christopher Nolan)

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《记忆碎片》讲述了一个失忆男子寻找杀死妻子的凶手的故事。这个无懈可击的谜题为严密复杂的叙事树立了一个标准，主流电影中少有模仿者。这部引人入胜的黑色犯罪片迫使我们思考人类记忆的不可靠以及自欺欺人的倾向。看似转弯抹角的粗俗小说，实则一出存在主义的悲剧。令人难忘。

– Eric D Snider, Freelance, US