《紐約時報》2020年度最佳電影

《紐約時報》2020年度最佳電影

Best Movies of 2020

MANOHLA DARGIS, A.O. SCOTT

翻譯：Harry Wong、晉其角、杜然

從左上方順時針方向，《馬丁·伊登》、《波拉特續集》、《女人四十玩說唱》、《棕櫚泉》和《高個兒》。CLOCKWISE FROM CENTER: AMAZON STUDIOS; JEONG PARK/NETFLIX; JESSICA PEREZ/HULU; LIANA MUKHAMEDZYANOVA/KINO LORBER; FRANCESCA ERRICHIELLO/KINO LORBER

Manohla Dargis | A.O. Scott曼諾拉·達吉斯(Manohla Dargis )|A·O·斯科特(A.O. Scott)I Watched Until My Eyes BledIt 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 prescription 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.這一年，我沉迷觀影卻又囫圇吞棗，屏幕也變得越來越小。不久前的一天，我在手機上花了可怕的（尷尬的！）11小時15分鐘。我讀新聞，沒完沒了地瀏覽Twitter，玩拼圖遊戲，查電子郵件，一直在滾動屏幕。難怪我的眼睛開始經常疼，有時還有刺痛，這讓我擔心自己需要配新眼鏡了。並非如此，我只是需要停止觀看，但我無法放下手機，它把我與我非常想念的更大的世界聯繫在一起。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.十大榜單的目的是為了分享我們喜歡的電影。但是，在思考我今年最喜歡的電影，以及我看過的所有新老電影時，我也思考了很多自己如何觀看電影的事情，嗯，只是觀看。作為大屏幕原教旨主義者，我喜歡去影院看電影，去一線和二線影院，也喜歡去藝術影院、博物館和先鋒影院。我知道在洛杉磯（我住的地方）哪個影院和影城有最大的屏幕、最好的音響、最好的視線和最好的座位——至於我，我喜歡坐在影院中部，正中間的位置。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.3月份洛杉磯多家影院關門時，我哭了。（它們仍未開放。）影評人的眼淚雖然不算什麼，但是我觀影故我在。我在1970年代的紐約長大，看了大量電影，包括從電視上看的。但是去影院看電影是由我為自己做主的第一次冒險，也是我第一次體驗在沒有父母監督下駕馭普通生活的方式之一。看電影是我最重要的事，是一種觀察和存在的方式。直到今年3月份，它還可以幫助我理解時間，以及它的形狀、質地和要求：看電影決定了我白天做什麼，夜裡做什麼，包括我開車往返於電影院和家中的許多時間。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.和很多人一樣，今年我也覺得很不踏實，部分原因是我現在體驗時間的方式。我長期在家辦公，但為了評論電影，我總會去影院。所以我發現，學著在家裡看我需要評論的電影，這是很有挑戰性的——如何尊重它們需要和應得的關注，如何坐在沙發上，並且一直坐在那裡，不按暫停鍵，不看Twitter。我家有很多窗戶，即使把窗簾拉上，也不可能製造出一個黑暗的放映室。所以，為了保持優雅，我把床單掛在窗簾上，甚至給一個小窗口貼上了Trader Joe購物袋，這聽起來很可笑。I finally figured out how to really watch the movies I was reviewing at home when I categorically separated them from the other images I was soaking up, the stream of faces, shapes and moments that also defined my year: Sarah Cooper’s devastating Trump performances; Doggface skateboarding to Fleetwood Mac; the Scottish sports announcer Andrew Cotter and his dogs Olive and Mabel; the sometimes shocking science videos demonstrating how far sneezes and coughs can travel (27 feet!); and the friends and strangers whose lives I』ve watched as they made bread, settled into new homes, marched for Black lives and, at times, mourned the deaths of loved ones.當我把電影與我所沉迷的其他影像截然分開時，我終於明白了如何真正觀看電影，我曾經迷戀許多面孔、片段與時刻，它們同樣定義了我這一年：莎拉·庫珀(Sarah Cooper)破壞性的川普模仿表演；「狗臉」(Doggface)跟著弗利特伍德·麥克(Fleetwood Mac)的歌滑滑板；蘇格蘭體育播音員安德魯·科特(Andrew Cotter)和他的狗奧利弗(Olive)和梅布爾(Mabel)；不時有驚人的科學視頻展示了噴嚏和咳嗽的飛沫可以傳播到多遠的地方去（27英尺！）還有那些朋友和陌生人的生活，我目睹他們做麵包、住進新家、參加「黑人的命也是命」遊行，有時則是哀悼逝去的親人。This stream has been alternately sad and joyous, devastating and enlivening. I have grown fond of people I have never met, and become invested in their well-being. Occasionally, the stream can feel like an inundation, as it did on my shameful day of 11 hours-plus on my phone. And I know, yes, the arguments against spending too much time on social media, in particular. But all these streaming images are entirely different from the discrete pleasures of movies not just in terms of how they look — the integrity of their images, where the camera is — but also how movies begin and how they end, the specific rhythms, shape and sense of time they create.這些視頻流時而悲傷，時而歡樂，時而慘痛，時而生機勃勃。我開始喜歡上那些我從未見過的人，為他們的幸福而投入感情。有時候，它們就像洪流般淹沒我，比如說我在手機上可恥地花了超過11個小時的那一天。是的，我知道那些反對在社交媒體上花費太多時間的觀點。但這些流媒體視頻與電影提供的分散性樂趣完全不同，不僅在外觀方面——圖像的完整性、鏡頭的位置——還有電影開始與結束的方式、它們創造的特定節奏、形狀和時間感。The seemingly endless, indistinguishable months of the pandemic have been perfect for the undifferentiated streaming flow of baking shows, crime dramas, TikTok videos, fleeting Instagram stories and five-second GIFs. Streaming companies know how to do flow: they often bypass credits and start up the next episode before you’re finished watching the current one. Streaming blurs time and before you know it you』ve watched four episodes of 「The Crown」 back to back. This is of a different order of how we experience time when we go out to the movies, which give us two or more hours』 respite from the clock-and-capitalism-determined flow of everyday life.幾個月來，疫情似乎永無休止，時間感變得模糊不清，這對於烘焙節目、犯罪劇、TikTok視頻、轉瞬即逝的Instagram故事和五秒鐘GIF動圖等無差別流媒體來說是完美的。流媒體公司知道怎樣製造流量，他們通常跳過片頭，讓你不等看完當前一集就馬上開始看下一集。流媒體模糊了時間，不知不覺中，你已經連續看了四集《王冠》(The Crown)。這與我們外出觀影的時間體驗是不同的。外出觀影可以讓我們從時鐘和資本主義決定的日常生活中獲得兩小時或更多的喘息時間。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.經常有人問我認為電影會發生什麼變化。我也不知道，我只相信好的、壞的和無關緊要的電影將會繼續被製作、發行和放映。然而，我們如何觀看以及觀看什麼，就不那麼確定了。我們所知道的是，美國電影業經受住了一系列災難性的危機，並從中獲利——從它壟斷性的創建到有聲電影的出現，從舊的製片廠制度的結束到電視和家庭錄像的引入。流媒體的出現為歷史增添了新的篇章，這段歷史將會繼續演變，比任何一家公司或任何一場危機都要長久。時間會證明一切，我們也會證明一切。

盧卡·馬裡內利在皮耶特羅·馬切羅改編自傑克·倫敦小說的《馬丁·伊登》中扮演的角色。FRANCESCA ERRICHIELLO/KINO LORBER1. 『Martin Eden』 (Pietro Marcello)1. 《馬丁·伊登》(Martin Eden)，皮耶特羅·馬切羅(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.)在這部改編自傑克·倫敦(Jack London)同名小說的精彩影片中，盧卡·馬裡內利(Luca Marinelli)飾演一個自學成才的人，他拋棄工人階級，轉而接受一種顛覆靈魂與世界的自力更生的意識形態。（在Kino Marquee上觀看。）2. 『City Hall』 (Frederick Wiseman)2. 《波士頓市政廳》(City Hall)，弗雷德裡克·懷斯曼(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.)弗雷德裡克·懷斯曼是美國最偉大、最慷慨的記錄者之一，他帶你走進波士頓市政廳，在那裡，男男女女們為城市——以及民主——的運轉做出貢獻。（通過虛擬影院觀看。）3. 『Gunda』 (Victor Kossakovsky)3.《貢達》(Gunda)，維克多·科薩科夫斯基(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.)一隻母豬生下了一窩活潑可愛的小豬，一隻獨腿雞無憂無慮地在這個親密精美的動物世界裡自由自在地遊蕩。(12月11日起通過虛擬影院觀看。)

斯派克·李拍攝了大衛·伯恩的百老匯演出《美國烏託邦》。DAVID LEE/HBO4. 『David Byrne’s American Utopia』 (Spike Lee)4. 《大衛·伯恩的美國烏託邦》(David Byrne’s American Utopia)，斯派克·李(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.)鑑於這部片子的視覺、運動和聲音效果之棒，能把我帶到的境界之美好，它應該被命名為《斯派克和大衛帶你離開2020》。（在HBO Max觀看。）5. 『Bacurau』 (Juliano Dornelles and Kleber Mendonça Filho)5. 《巴克勞》(Bacurau)，儒利亞諾·多赫內利斯(Juliano Dornelles)和小克萊伯·門多薩(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.)這部令人振奮、打破類型的影片混合了各種風格，顛覆了「小鎮被迫與外界邪惡勢力作鬥爭」的經典故事。搞笑，怪異，血腥，具有深刻的政治意味。（可在流媒體平臺上觀看。）6. 『First Cow』 (Kelly Reichardt)6. 《第一頭牛》(First Cow)，凱莉·萊卡特(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.)這是一個關於男性友誼的溫情故事，並且譴責了粗獷的個人主義，凱莉·萊卡特的影片為大多數邊疆故事中的勝利主義提供了另一種選擇。而且片中的奶牛很可愛。（可在流媒體平臺觀看。）

塔裡亞·賴德在伊麗莎·希特曼的影片《從不，很少，有時，總是》中。FOCUS FEATURES7. 『Never Rarely Sometimes Always』 (Eliza Hittman)7. 《從不，很少，有時，總是》(Never Rarely Sometimes Always)，伊麗莎·希特曼(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.)在這部講述一個少女艱難尋求墮胎的影片中，你可以感受到屏幕上溢出的憤怒。一幕又一幕，你也可以看到精彩的電影製作。(可在流媒體平臺觀看。)8. 『Collective』 (Alexander Nanau)8. 《科萊採夫》(Collective)，亞歷山大·訥訥烏(Alexander Nanau)This gripping, at times shocking documentary tracks the aftermath of a catastrophic fire in Bucharest that killed scores of people, brought down the government and inspired heroic journalism. (Watch on streaming platforms.)這部扣人心弦、時而令人震驚的紀錄片追蹤了布加勒斯特一場災難性大火的後果，它造成數十人死亡，使政府倒臺，並且激發了英勇的新聞報導。(可在流媒體平臺觀看。)9. 『The Forty-Year-Old Version』 (Radha Blank)9. 《女人四十玩說唱》(The Forty-Year-Old Version)，拉妲·布蘭克(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.)伍迪·艾倫(Woody Allen)拍過紐約、斯派克·李拍過紐約，現在又有了拉妲·布蘭克的紐約。作為一個在危機中掙扎的劇作家，布蘭克用智慧、說唱、開放的心態和一種爆發的色彩，將藝術鬥爭的浪漫主義表現得淋漓盡致。（在Netflix上觀看。）

維多利亞·米羅什尼琴科在《高個兒》中，故事發生在第二次世界大戰後。LIANA MUKHAMEDZYANOVA/KINO LORBER10. 『Beanpole』 (Kantemir Balagov)10. 《高個兒》(Beanpole)，康捷米爾·巴拉戈夫(Kantemir Balagov)This tragic, painful, dazzlingly directed drama takes place in the Soviet Union right after the Second World War. Balagov is a heartbreaker, and a major talent. (Watch on streaming platforms.)這部悲慘、痛苦、令人炫目的導演影片發生在二戰後的蘇聯。巴拉戈夫令人心碎，才華驚人。（可在流媒體平臺觀看。）Garrett Bradley’s 「Time」 would be in my top 10, but it was a coproduction of The New York Times, so I can’t include it because it’s a conflict of interest. But you should watch it. Here are some other movies I’m grateful for: 「76 Days,」 「Alex Wheatle,」 「Borat Subsequent Moviefilm,」 「Buoyancy,」 「Circumstantial Pleasures,」 「Coded Bias,」 「Crip Camp,」 「Da 5 Bloods,」 「Dick Johnson Is Dead,」 「Emma,」 「Fireball: Visitors From Darker Worlds,」 「Harley Quinn: Birds of Prey,」 「House of Hummingbird,」 「I Wish I Knew,」 「The Invisible Man,」 「Lost Girls,」 「Minari,」 「Miss Juneteenth,」 「Nomadland,」「The Old Guard,」 「On the Record,」 「On the Rocks,」 「One Night in Miami,」 「The Photograph,」 「Tesla,」 「The Traitor,」 「The Wild Goose Lake,」 「Sorry We Missed You,」 「Soul,」 「The Truffle Hunters,」 「The Truth.」加雷特·布萊德利(Garrett Bradley)的《時間》(Time)應該在我的前十之列，但它是與《紐約時報》(The New York Times)合拍的，有利益衝突，所以我不能把它列進來。但是你應該看它。還有其他一些讓我心懷感激的電影：《76天》(76 Days)、《亞歷克斯·惠特爾》(Alex Wheatle)、《波拉特2》(Borat Subsequent Moviefilm)、《浮俘》(Buoyancy)、《環境愉悅》(Circumstantial Pleasures,)、《編碼歧視》(Coded Bias)、《殘疾營地》(Crip Camp)、《誓血五人組》(Da 5 Bloods)、《迪克·詹森的去世》(Dick Johnson Is Dead)、《愛瑪》(Emma)、《火球：來自黑暗世界的訪客》(Fireball: Visitors From Darker Worlds)、《猛禽小隊和哈莉·奎茵》(Harley Quinn: Birds of Prey)、《蜂鳥》(House of Hummingbird)、《海上傳奇》(I Wish I Knew)、《隱形人》(The Invisible Man)、《失蹤女孩》(Lost Girls)、《米納裡》(Minari)、《朱尼滕小姐》(Miss Juneteenth)、《無依之地》(Nomadland)、《永生守衛》(The Old Guard)、《紀錄在案》(On the Record)、《觸礁》(On the Rocks)、《邁阿密的一夜》(One Night in Miami)、《愛之情照》(The Photograph)、《特斯拉》(Tesla)、《叛徒》(The Traitor)、《南方車站的聚會》(The Wild Goose Lake)、《對不起，我們錯過了你》(Sorry We Missed You)、《心靈奇旅》(Soul)、《松露獵人》(The Truffle Hunters)、《真相》(The Truth)。Reasons to look forward to 2021 (other than vaccines): 「The Boy From Medellín,」 「MLK/FBI」 and 「The Woman Who Ran.」期待2021年的理由（除了疫苗還有）:《來自麥德林的男孩》(The Boy From Medellín)、《MLK/FBI》和《逃走的女人》(The Woman Who Ran)。And I hope that someone picks these up for American distribution: 「The Disciple,」 「The Monopoly of Violence」 and 「Preparations to Be Together for an Unknown Period of Time.」我希望有人挑選這些影片在美國發行：《學徒》(The Disciple)、《壟斷暴力》(The Monopoly of Violence)和《未知時間的愛》(Preparations to Be Together for an Unknown Period of Time)。Moviefilms for Make Benefit a Weary and Anxious WorldIt’s been a year of deprivation and abundance. The press screenings and catch-up trips to local theaters that have punctuated my weeks for more than two decades vanished, and my internet connection turned into a 24-hour cinémathèque. I missed going to the movies a lot, but I didn’t much miss the Hollywood fare that has dominated screens in the past few years. The ascendance of streaming makes me uneasy — because of the passivity it engenders in the audience and the aesthetic compromises it renders all but irresistible — but for now I’m grateful to have seen so many good films. I』ve needed them more than ever.這是貧困與富足並存的一年。二十多年來，我每周都要參加的媒體試映會和在本地影院的補片之旅消失了，我的網絡連接變成了一家24小時電影院。我十分懷念去影院看電影，但並不想念過去幾年裡主宰大熒幕的好萊塢產品。流媒體的崛起讓我不安——因為它讓觀眾變得被動，使審美上的妥協根本無法抗拒——但現在，我很感激能看到這麼多好電影。我比以往任何時候都更需要它們。

波拉特（薩莎·拜倫·科恩飾）和圖塔（瑪麗亞·巴卡洛娃飾）在《波拉特續集》中的逃跑戲。AMAZON STUDIOS1. 『Borat Subsequent Moviefilm』 (Jason Woliner)1. 《波拉特續集》(Borat Subsequent Moviefilm)，傑森·威奈勒(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.從電影藝術的角度看，我能稱之為2020年的最佳影片嗎?我也不知道。這是詭異的一年。但我堅持認為，這部14年前既尷尬又惡搞的經典之作的續集，無疑最適合2020年的電影。部分原因是薩夏·巴倫·科恩(Sacha Baron Cohen)和他的合作者們——包括扮演波拉特之女圖塔(Tutar)的出色的保加利亞女演員瑪麗亞·巴卡洛娃(Maria Bakalova)——在疫情以及總統競選的頭幾個月堅持了下來，使他們的滑稽表演超越了簡單的關聯性，有了一種現在進行時的味道。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.但這次波拉特的新冒險也以令人悲哀的準確性捕捉到了當下一刻的感覺。科恩那友好又白痴的另一個自我再次從哈薩克斯坦上了我們的岸，讓美國人的真實面貌流露出來。那是驚人的偏執、無知和妄想，但對陌生人的禮貌和友好卻足以消除敵意。片中有一段感人的情節，是波拉特與兩個QAnon信徒在一起隔離，這兩人後來在一場反口罩MAGA集會上幫他找到了圖塔。當珍妮絲·瓊斯(Jeanise Jones)試圖耐心地將圖塔的思想從父權的牢籠中解放出來，這一人物被賦予的非喜劇性的人性讓人窩心。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.這不是說《波拉特續集》能給人帶來多少安慰。當諷刺與紀錄片元素結合，就意味著兩者都走到了一條死胡同。真相不一定讓你自由。笑聲或許根本不是良藥。無論是科恩設計笑點的方式，還是他對其局限的理解，都帶著值得讚揚的嚴謹。這部電影非常有趣，但它不會讓你感覺振奮。不管怎樣，現實都比科恩的猥瑣想像更不堪。他和巴卡洛娃是可以讓川普總統的私人律師魯道夫·W·朱利安尼(Rudolph W. Giuliani)在紐約一家酒店的房間裡丟盡臉面的，但就算是科恩，也只能羨慕那個不知哪來的喜劇大神，在費城一處緊鄰性用品商店、對街就是火葬場的停車場裡開了一場大選後的新聞發布會。那種地方連波拉特都不會去。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.)波拉特最終接受了「我是我女兒的父親」的女權主義是挺圓滿，也緩解了電影結尾的苦澀。就像第一部一樣，本片講述了兩個國家的故事，一個幻想中的哈薩克斯坦，和一個真實的「US和A」。在片子最後，這兩國中的一國成了世界榜樣，一個進步、啟蒙、新聞可信賴和科學受尊重的地方。而剩下那個曾經輝煌過的國家，已經墮落成野蠻和迷信之地。我不會劇透它們分別是哪個。（在亞馬遜觀看。）2. 『City Hall』 (Frederick Wiseman)/『Collective』 (Alexander Nanau)2. 《市政廳》（弗雷德裡克·懷斯曼）/《科萊採夫》（亞歷山大·訥訥烏）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.)對政府的憎惡和對新聞的蔑視，是當代反民主思維的標誌，而這些紀錄片對此進行了有力反駁。弗雷德裡克·懷斯曼將他對波士頓市政當局工作的長時間沉思觀察，變成了一曲屬於程序的交響樂，展示了在沒有戲劇性的時候，民主是如何得到恪守的。相較之下，亞歷山大·訥訥烏對羅馬尼亞致命官場腐敗的令人毛骨悚然的記錄，則充滿戲劇張力——展現了可怕的政府功能失調，以及英勇與之鬥爭的努力，讓人血脈賁張。加在一起，這兩部片表達了耐心與憤怒是至關重要、且互為補充的公民美德。（在虛擬影院觀看《市政廳》；在流媒體平臺觀看《科萊採夫》。）

《第一頭牛》是導演凱莉·萊卡特最新的一部準西部片。ALLYSON RIGGS/A243. 『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.)凱莉·萊卡特最新的這部類西部片平靜地審視了友誼，同時尖刻地批判了全球資本主義——這在19世紀的俄勒岡領地得到了充分展現。俄裡昂·李(Orion Lee)和約翰·馬加洛(John Magaro)精彩演繹了兩個不合時宜的人物，他們的點心蛋糕創業公司因為供應鏈問題、有問題的商業操作以及冷酷無情的貪婪人性而失敗。（在流媒體平臺觀看）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.)比起自己的出生地美國，傑克·倫敦發表於1909年的自傳體小說在歐洲始終更受歡迎，皮耶特羅·馬切羅的這個瘋狂的電影版既是一封熱忱的情書，也是一次明目張胆的文化和想像力剽竊。馬丁（由帥呆了的盧卡·馬裡內利出演）移居那不勒斯，基本上整個20世紀都成了他的熱情與雄心的背景陪襯。文學、政治、階級鬥爭、性愛——這部火熱而驚喜不斷的史詩應有盡有，抹去了現實和幻想的邊界。（在Kino Marquee觀看）

裡德·伯尼與 《女人四十玩說唱》的編劇、導演和主演拉妲·布蘭克。JEONG PARK/NETFLIX, VIA ASSOCIATED PRESS5. 『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.)拉妲·布蘭克是一個迷人的人物——不安、逗趣、得體、自負。飾演自己的拉妲·布蘭克是一個傑出的表演者，拿出了激情，同時又有毫不顧忌的坦誠，這是任何的回憶錄都需要具備的成分。最重要的是，交出了自己的導演處子作的拉妲·布蘭克是一個才華橫溢的電影人，總能發現紐約劇場的荒誕，以及城市本身這部流光溢彩的大戲。（在Netflix觀看）6. 『Palm Springs』 (Max Barbakow)6. 《棕櫚泉》(Palm Springs)，麥克斯·巴巴科夫(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.)在這個《土撥鼠之日》(Groundhog Day)主題的演繹版裡，克裡斯汀·米裡奧蒂(Cristin Milioti)和安迪·薩姆伯格(Andy Samberg)的相遇不怎麼可人，他們在一個期待值越來越低、沒完沒了重複的世界裡尋找著愛與意義。電影人（麥克斯·巴巴科夫執導；安迪·西亞拉編劇）本來沒打算拍一部隔離愛情故事，但是兩位主人公身上有某種東西的確在與無聊、焦慮和犬儒的誘惑做鬥爭，讓本片成為這仿佛沒有盡頭的可怕一年中的一絲慰藉和一個亮點。（在Hulu觀看）

西爾弗羅·佩雷拉在打破類型的電影《巴克勞》中飾演的角色。KINO LORBER
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.)烏多·基爾(Udo Kier)和索尼婭·布拉加(Sônia Braga)！科幻和西部片！《巴克勞》是一座位於巴西偏僻地區的虛構小鎮的名字，這部歡鬧、暴力的探險故事不尊重類型和敘事規範，這就構成了一種更普遍——也更尖銳——的叛逆形式：反抗權力的傲慢；反抗至今困擾巴西的殖民暴行和蓄奴歷史遺存；反抗專制主義抹殺歷史、壓抑快樂、無視來自未來的緊迫訊息的衝動。總的來說，這似乎就是這部電影的含義所在。（在流媒體平臺觀看）8. 『David Byrne’s American Utopia』 (Spike Lee)/『Lovers Rock』 (Steve McQueen)8. 《大衛·伯恩的美國烏託邦》（斯派克·李）/《戀人搖滾》(Lovers Rock)，史蒂夫·麥奎恩(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.)現場演出和家中的聚會，哪個更讓你想念？這些由音樂和封閉空間內身體的運動驅動的電影充滿歡愉與欲望，儘管同時他們清楚生活是何其艱難。《戀人搖滾》(Lovers Rock)是史蒂夫·麥奎恩的《小斧子》(Small Axe)中最短、最甜美的一章，講述了1980年代初倫敦一個夜晚的故事。《美國烏託邦》由斯派克·李執導，捕捉了大衛·伯恩2019年在紐約哈德遜劇場的一場龐雜的演出。在兩部影片中，體裁是訊息，快感是政治。（在HBO Max觀看《美國烏託邦》；在Amazon觀看《戀人搖滾》）

在紀錄片《迪克·詹森的去世》中，導演柯爾斯滕·詹森和她的父親演繹了迪克·詹森死亡的各種場景。NETFLIX9. 『Dick Johnson Is Dead』 (Kirsten Johnson)9. 《迪克·詹森的去世》，基爾斯滕·詹森(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.)基爾斯滕·詹森的電影是一部向著可知現實的邊界走去的紀錄片，思考著死亡、記憶和人類意識的神秘。同時這也是導演與自己的父親——一位患有失智症的退休精神病醫生——的想像合作，兩人一起演繹了父親之死的場景。最終的結果爆笑而駭人，殘忍中又有著出人意料的人性。（在Netflix觀看）10. 《靈魂》(Soul)，彼得·多科特(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.)這部最新皮克斯(Pixar)長片——一則抒情的、形而上的故事，講述一名爵士樂鋼琴家死後的歷險——傳遞的訊息是，活著是好事。影片原本計劃於今春上映，但電影人們肯定想不到它表達的東西在時機上何其湊巧，又是何其討喜。（12月25日開始在Disney+觀看）

Manohla Dargis自2004年以來一直是《紐約時報》聯合首席電影評論家。她於1987年開始專職從事電影方面的寫作，並在紐約大學獲得電影研究碩士學位，她的作品被收錄在數本書中。

A.O. Scott是聯合首席電影評論家。他於2000年加入《紐約時報》，並為《紐約時報書評》和《紐約時報雜誌》撰稿。他還是《評論，讓生活更美好》一書的作者。