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The film critics of The New York Times — Manohla Dargis and A. O. Scott — share their picks for the best movies of the year.
时报影评人曼诺拉·达吉斯(Manohla Dargis)与A·O·斯科特(A. O. Scott)分享他们挑选的年度最佳电影。
A. O. Scott
A·O·斯科特
Like a lot of critics, I chafe against the arbitrariness of lists even as I recognize their utility. Since I can never stop at 10 — how could I, when something like 900 movies were released in North American theaters? — I picked 15 to match the year, ranked them and ended up fudging that count. So maybe technically it’s a top 20. The slots with more than one title aren’t ties, but double features, paired movies that complement, contend with or amplify each other’s best qualities.
和许多评论家一样，我一方面了解清单的便利，一方面也讨厌清单的专横。所以我永远不可能只列出十部――我怎么做得到呢，北美影院一年就要上映900多部影片呢――今年是2015年，所以我挑选了15部，为它们分门别类，计数时做了一点含糊，所以最后其实是20部。其中有两部片名的不代表并列，而是代表有两种特色，可以成对观看，二者的优点相映成趣。
1. “Timbuktu”(Abderrahmane Sissako)
1.《廷巴克图》，导演：阿伯德拉马纳·希萨柯(Abderrahmane Sissako)。
Mr. Sissako is both an indispensable political filmmaker and one of the great poets of contemporary cinema. His portrait of life under jihadi rule in northern Mali is brutal and shocking, but also gentle, generous and surprisingly funny. Mr. Sissako does not humanize violent extremists so much as demonstrate that they already belong to the species and reflect part of our common, tragic nature. But his movie also insists that the only effective and ethically serious way to oppose fanaticism is with humanism. Which is to say with irony, with decency and, perhaps above all, with art. (Read the review.)
希萨柯既是一位不可或缺的政治导演，也是当代电影中的伟大诗人之一。他为北部马里圣战者管辖之下的生活所绘的图像既残酷又惊人，但也温柔、慷慨儿惊人的有趣。希萨柯并没有把暴力极端分子人性化，而是展示出，他们已经成了这种人，也反映出我们身上普遍的、悲剧的天性。但他的影片还坚持认为，反对狂热主义，唯一有效而且道德的方式就是人道主义。他以反讽而正直的方式言说了这一观点，或许最重要的是，以艺术的方式言说了这一观点。
2. “Inside Out” (Pete Docter)
2. 《头脑特工队》，导演：彼得·道格特(Pete Docter)。
This journey into the mind and feelings of an 11-year-old-girl may be Pixar’s wildest adventure yet. It’s a very funny workplace sitcom (with exuberant, touching performances from Amy Poehler, Phyllis Smith, Mindy Kaling and others), an ingenious allegory of psychological development, and an almost unbearably moving and honest defense of the role of sadness in our lives. (Read the review.)
这段深入11岁女孩心灵与情感的旅程可能是皮克斯迄今最疯狂的冒险。这是一部非常有趣的工作场合情景喜剧，艾米·波勒(Amy Poehler)、菲利丝·史密斯(Phyllis Smith)和敏迪·卡灵(Mindy Kaling)等人带来了精彩感人的演出，这是一则关于心理发展的精巧语言，也是对于悲伤在我们的生活中所扮演的角色的一种感人而诚恳的辩护。
3. “Spotlight” (Tom McCarthy)
3. 《聚焦》(Spotlight)，导演：汤姆·麦卡锡(Tom McCarthy)。
“The Big Short” (Adam McKay)
《大空头》，导演：亚当·麦凯。
Two terrifically entertaining, ensemble-driven, fact-based procedurals about appalling crimes and the institutions — the Roman Catholic Church and Wall Street banks — that allowed corruption to fester. In addition to mustering righteous anger, Mr. McCarthy and Mr. McKay, in very different ways, managed to infuse the routines of modern work (answering phones, typing on keyboards, scrutinizing spreadsheets) with suspense, emotion and moral gravity.
这两部极具娱乐性，追求整体效果，建立在事实基础上的程序剧(procedural)都是关于惊人的犯罪与腐败滋生的大型机构的故事——一个是关于罗马天主教会，一个是关于华尔街银行。除了激发起正直的愤怒，麦卡锡与麦凯以不同的方式，把悬疑、情感和道德的分量融入到接电话、敲键盘、读报表等现代日常工作中去。
4. “Heart of a Dog”(Laurie Anderson)
4. 《狗心》(Heart of a Dog)，导演：劳瑞·安德森(Laurie Anderson)。
A meditation on love, loss and the meaning of life. Dog people and Lou Reed fans will be especially susceptible (I plead guilty on both counts), but anyone who ever had a heart is likely to succumb to Ms. Anderson’s ethereal wisdom and her fierce formal wit.
对爱、丧失与人生意义的沉思。喜欢狗的人与卢·里德(Lou Reed)的歌迷会特别容易受感动（我向双方都承认错误），但是任何有心人都会为安德森女士轻盈的智慧与极为庄重的风趣所打动。
5. “Carol” (Todd Haynes)
5. 《卡罗尔》，导演：托德·海因斯。
37| “Anomalisa” (Charlie Kaufman/Duke Johnson)|
《失常》，导演查理·考夫曼(Charlie Kaufman)与杜克·约翰逊(Duke Johnson)。
The finest romance and the most acute anti-romance of the year, from some of the most rigorous intellects in American movies. The relationship between them is perhaps best summed up in this poem by William Blake, called “The Clod and the Pebble”:
这是今年最精致的浪漫电影与最尖锐的反浪漫电影，均来自美国电影界最缜密的聪明人。两部影片之间的关系最好用一首威廉·布莱克(William Blake)的诗歌来总结——《土块与卵石》(The Clod and the Pebble)。
6. “Taxi”(Jafar Panahi)
6. 《出租车》(Taxi)，导演贾法·帕纳西(Jafar Panahi)。
The Iranian dissident filmmaker, posing as a (barely competent) Tehran cabdriver, stages a sly, pseudo-documentary inquiry into the paradoxes of cinema and the contradictions of everyday life under authoritarian rule.
伊朗持不同政见电影人扮演一个几乎不合格的德黑兰出租车司机，带来一部狡猾的伪纪录片，深入探讨电影的悖论，以及专制统治下日常生活中的矛盾。
7. “Out 1: Noli Me Tangere”(Jacques Rivette)
7. 《出局：禁止接触》(Out 1: Noli Me Tangere)，导演：雅克·里维特(Jacques Rivette)。
It took almost 45 years for this 13-hour shaggy-dog experiment to reach American screens, but the timing turned out to be perfect. Mr. Rivette’s mischievous ramble through Paris, French literature and a handful of perennial philosophical puzzles (What is the nature of reality? How do we know what we know? What is the relation of effect to cause?) is both a charming, newly rediscovered artifact of its hectic time and a bulletin from the cinematic future. Everything has already been done, and everything is still possible.
这部13个小时的，关于长毛狗经历的影片花了45年才来到美国的影院，但时机却恰到好处。里维特先生淘气地在巴黎、法国文学与若干永恒的哲学谜题（真实的本质是什么，我们怎么知道我们知道，因与果之间的联系）之间徜徉，它既是一个迷人的，被重新发觉饿出来的艺术品，片长简直疯狂；与此同时，也警示着电影的未来。一切都已经做过了，一切都仍然是可能的。
