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This means war
这意味着战争
War is the theme of the Oscars, even in films that seem to be about something else.
战争是今年奥斯卡的主题，即使那些看似关于其他主题的影片也不例外。
Tomorrow, on the mainland, “the Free State lads are executing a couple of the IRA lads,” says a brutish policeman on Inisherin, a fictional island off Ireland’s west coast.
在爱尔兰西海岸的一个虚构岛屿伊尼舍林岛上，一名野蛮的警察说，明天，在主岛上，“自由州的小伙子们将处决几个爱尔兰共和军的小伙子”。
It is 1923 and civil war rages on.
那是1923年，内战仍在肆虐。
“Or is it the other way around?”
“还是情况反过来呢？”
Whoever is executing whom, he is heading over to lend a hand.
不管谁处决谁，他都要过去搭把手。
“For six bob and a free lunch, I don’t care.”
“只要30便士和一顿免费午餐，我不在乎。”
“The Banshees of Inisherin”, which is up for nine Academy Awards at the ceremony on March 12th, is ostensibly the story of a ruptured friendship.
《伊尼舍林的报丧女妖》在3月12日的颁奖典礼上获得九项奥斯卡提名，这部电影表面上讲述的是友谊破裂的故事。
But it is also a war film—even though the shooting remains out of sight across the water.
但这也是一部战争电影--尽管在大海的另一边，枪战无法看见。
It shares that theme with most of the Oscars front-runners.
它与大多数奥斯卡领跑电影都有同样的战争主题。
War rumbles through the nominations, on the surface or audibly below it.
各项提名中回荡着战争的轰鸣之声，这声音或现于表面，或于表面之下清晰可闻。
On Inisherin, the row between Pádraic (played by Colin Farrell) and Colm (Brendan Gleeson) flares up in a time of war and mimics its rhythms.
在伊尼舍林，派瑞克(科林·法瑞尔饰)和科尔姆(布兰登·格里森饰)之间的争吵在战争时期爆发了，并模仿了战争的节奏。
Life is too short to waste any more of it in nice-but-dull Pádraic’s company, decides Colm, when he could be composing music for his fiddle.
科尔姆拿定主意，生命太短暂了，不能再在友善但乏味的派瑞克的陪伴下浪费更多时间，而他本可以去写一些小提琴乐曲。
Pádraic disagrees about what matters, what lasts and whether the two are the same.
派瑞克对什么是重要的、什么是长久的，以及这两者是否相同持有不同意见。
Like many a casus belli, theirs seems both foolish and profound.
就像许多交战理由一样，他们的理由看起来既愚蠢又深刻。
Colm is a grouchy crank—or perhaps has seen life for what it is.
科尔姆是一个脾气不好的人--或者说他也许已经看到了生活的本来面目。
And like many conflicts, theirs involves misunderstanding, escalation and self-mutilation:
也和许多冲突一样，他们的冲突涉及误解、冲突升级和自残：
Colm resolves to chop off his fingers if Pádraic insists on speaking to him.
如果派瑞克坚持要与他交谈，科尔姆就决心砍下自己的手指。
Their private war makes them different people.
他们的私人战争使他们成为不同的人。
The sense of queasy intimacy with an enemy suffuses the most powerful scene in “All Quiet on the Western Front” (also nominated for nine Oscars).
在《西线无战事》(也获得九项奥斯卡提名)最有力的一幕中，弥漫着与敌人之间紧张不安的亲密感。
Stuck in a first-world-war shell hole with a French soldier, Paul (Felix Kammerer), the German protagonist, cannot decide whether to kill or embrace him.
主人公是德国的保罗(费利克斯·卡默雷尔饰)，一战时他和一名法国士兵被困在弹坑里，无法下定决心是杀死他还是拥抱他。
This is war as an industrial-scale, merciless hell.
这是一场工业规模的战争，是残酷无情的地狱。
Surrendering troops are incinerated by flame-throwers, death is agonising and obscene.
投降的军队被火焰喷射者焚烧，死亡是痛苦不堪且道德沦丧的。
The first German-made adaptation of Erich Maria Remarque’s novel of 1928, "All Quiet on the Western Front" is plainly about war.
根据埃里希·玛利亚·雷马克1928年的小说首次改编的德国电影《西线无战事》显然是关于战争的。
But it is also about food.
但它也是关于食物的。
The soldiers talk and sing about it.
士兵们谈论食物，歌唱食物。
They snatch it from dying comrades and pilfer it from locals.
他们从垂死的战友那里抢走食物，从当地人那里偷走食物。
While the sybaritic top brass toss meat to their dogs, or query the freshness of their croissants, ordinary soldiers wolf down the rations in the trenches they storm.
当骄奢享乐的高级军官把肉扔给自己狗时，或者怀疑他们的牛角面包不够新鲜时，普通士兵则在攻占下来的战壕里狼吞虎咽地吃下定量口粮。
Their two primitive imperatives are to survive and to find something to eat, even at their peril.
士兵们的两个原始要务是生存和找到食物，即使是冒着巨大危险。
"Top Gun: Maverick" (six nominations) has the outline and kit of a war film.
《壮志凌云2: 独行侠》(获六项提名)具备战争电影的框架和全套要素。
At its daredevil climax, Maverick (Tom Cruise), back in his shades, leather jacket and cockpit after 36 years, must blow up a uranium-enrichment plant in a nameless rogue state.
在影片大胆惊险的高潮处，阔别36年后，独行侠(汤姆·克鲁斯饰)又戴着墨镜、穿着皮夹克，登上飞机驾驶舱，必须炸毁一个没有名字的流氓国家的铀浓缩工厂。
But the real clashes here are among the ego-addled American fighter pilots, and, above all, between Maverick’s analogue heroism and the automated march of time.
但这里，真正的冲突发生在因自负而头脑不清的美国战斗机飞行员之间，最重要的是，还发生在独行侠指针式钟表般的老式英雄主义和已自动化的时代前进之间。
"The future is coming," a commander tells him, "and you're not in it."
“未来就要到来了，”一个指挥官对他说，“而你不在其中。”
He’ll see about that.
但独行侠会想办法的。
Storytelling, it is true, always runs on conflict.
诚然，故事总是围绕冲突展开的。
Man versus fate, or nature, or society, or another man (or woman): typologies of it abound online and in creative-writing seminars.
男人与命运，或自然，或社会，或另一个男人(或女人)：在网上和创意写作研讨会上，这方面的类型学俯拾皆是。
As Kurt Vonnegut enjoined, "every character should want something, even if it is only a glass of water."
正如库尔特·冯内古特所嘱咐的那样，“每个角色都应该想要某些东西，哪怕只是想要一杯水。”
Someone or something gets in the way, and the ensuing friction forges characters, generates tension and drives the plot.
某人或某事挡住了去路，随之而来的摩擦塑造人物，产生张力，推动情节发展。
Even so, the martial drumbeat of this year’s Oscars seems loud, chiming with the concussions from Ukraine and the bellicose timbre of wider politics.
即便如此，今年奥斯卡的军鼓之音也很响亮，与乌克兰的震荡和更广泛的政界中的尚武之音产生共鸣。
Take the suite of conflicts in “Tár” (also six nominations).
以《塔尔》中一系列的冲突为例(同样获得六项提名)。
At first the film seems to be a dispatch from the cultural sort of war,
起初，这部电影像是类似文化战争的一封快信，
as Lydia Tár (Cate Blanchett), maestro of the Berlin Philharmonic, riles a class of young musicians with her old-school insistence on separating art from the artist.
柏林爱乐乐团的指挥家莉迪亚·塔尔(凯特·布兰切特饰)坚持将艺术与艺术家分开，其老派思想激怒了一群年轻的音乐家。
When a student who identifies "as a BIPOC pangender person" has issues with "white, male, Cis composers", she brusquely says people ought not to be "so eager to be offended".
当一名自称是"BIPOC(黑人、原住民及有色人种)泛性别者"的学生对"白色人种、男性、顺性别作曲家"感到不满时，塔尔语气生硬地说，人们不应该"这么急于让人冒犯自己"。
But the hot-button spats turn out to be camouflage for the film’s more important war: between Tár and her past and conscience.
但这些对敏感问题的争吵其实是影片中更重要的战争的伪装：塔尔和她的过去以及良心之间的战争。
A walking, baton-wielding will to power, she tyrannises her underlings, exploits her rights of patronage, cheats on her wife, drives fast and punches hard.
作为一个挥舞着指挥棒的、行走的权力欲望体，她像暴君般对待下属、利用赞助权谋利、对妻子出轨、飞快地开车、重拳打人。
Yet she is haunted, and undone, by uncanny motifs and memories—disembodied screams, the image of a maze, a head of red hair.
然而，她被离奇的主题和记忆所缠扰，并最终崩溃--不见其人的尖叫声，迷宫的形象，一头红色的头发。
In a sequence that hovers between realism and nightmare, Tár descends into a basement and is stalked by a spectral dog.
在一组游荡于现实主义和噩梦之间的镜头中，塔尔走进地下室，身后跟着一只幽灵般的狗。
Down there, below the surface, an elementary, eternal conflict is fought and often lost: the one against yourself.
在那里，在表象之下，一场基本的、永恒的冲突正在进行，而且往往以失败告终：这是一场对自己的战争。
