BBC評(píng)出100部最佳外語(yǔ)電影，13部華語(yǔ)片入圍，你看過幾部？

近日，英國(guó)廣播公司(BBC)公布了一份榜單，列出100部最偉大的非英語(yǔ)電影。

這些電影由43個(gè)國(guó)家的209名影評(píng)人評(píng)選出來，包含來自24個(gè)國(guó)家的67個(gè)導(dǎo)演的影片，涉及19種語(yǔ)言。

榜單中排名第一的是日本導(dǎo)演黑澤明的《七武士》(Seven Samurai)，BBC稱它在世界各地影評(píng)人中幾乎“零差評(píng)”。

法語(yǔ)電影上榜最多，共有27部入圍，位列第二的是華語(yǔ)電影，多達(dá)13部。

其中，年代最早的電影是費(fèi)穆的《小城之春》(1948)，入圍電影最多的導(dǎo)演是王家衛(wèi)(3部)，他的《花樣年華》是唯一入圍前十的華語(yǔ)電影。

更多關(guān)于這13部華語(yǔ)影片細(xì)節(jié)，來和雙語(yǔ)君一同看看吧!

BBC最佳外語(yǔ)片之華語(yǔ)電影

No.98 陽(yáng)光燦爛的日子

In the Heat of the Sun, 1994

導(dǎo)演：姜文

影評(píng)

Jiang Wen's extraordinary 1994 debut In the Heat of the Sun is the story of a dreamy abstract place perpetually awash in baking heat.

姜文的處女作，1994年上映的《陽(yáng)光燦爛的日子》非常不同凡響，故事發(fā)生在一個(gè)夢(mèng)幻般抽象的地方，永遠(yuǎn)沐浴在熾熱的陽(yáng)光中。

— Screen Anarchy

I only focus on my generation and my generation's true feelings. I wanted to portray that time through the eyes of children who lived through that time, then I filmed it in that way.

我只想聚焦于我們這一代人和我們這一代人的真實(shí)感受。我想從經(jīng)歷過那個(gè)時(shí)代的孩子的眼中展現(xiàn)出那個(gè)時(shí)代，我就是這么拍的。

—— 姜文

No.93 大紅燈籠高高掛

Raise the Red Lantern, 1991

導(dǎo)演：張藝謀

影評(píng)

Raise the Red Lantern — set in 1920s China — used entrenched social and gender to fuel a gorgeously filmed collision between expectation and reality, dreams and despair.

《大紅燈籠高高掛》以二十世紀(jì)二十年代的中國(guó)為背景，用華麗的鏡頭記錄了根深蒂固的社會(huì)和性別關(guān)系，烘托出期待與現(xiàn)實(shí)、夢(mèng)想與絕望之間的強(qiáng)烈碰撞。

— John Hartl

A beautifully crafted and richly detailed feat of consciousness-raising.

一部精雕細(xì)琢、細(xì)節(jié)豐富的，關(guān)于自我意識(shí)覺醒的杰作。

— Janet Maslin

No.78 臥虎藏龍

Crouching Tiger, Hidden Dragon, 2000

導(dǎo)演：李安

影評(píng)

Lee grounds the high-kicking mayhem in poetic gravity, which gives it a flavor all its own, as plangent and lovely as the cello strains of Tan Dun's memorable score.

李安用詩(shī)意的莊重穩(wěn)住了這飛檐走壁的功夫大亂斗，賦予了它一種獨(dú)特的風(fēng)情，一如電影中譚盾那令人難忘的大提琴配樂一樣凄婉動(dòng)人。

— Damien Bona

The movie that catapulted Ang Lee into the ranks of upper echelon Hollywood filmmakers, Crouching Tiger, Hidden Dragon features a deft mix of amazing martial arts battles, beautiful scenery, and tasteful drama.

《臥虎藏龍》讓李安一炮而紅，躋身好萊塢一線電影制片人之列，片中融合了令人驚嘆的武打片段、優(yōu)美的景色和令人回味的劇情。

— Richard Corliss

No.71 春光乍泄

Happy Together, 1997

導(dǎo)演：王家衛(wèi)

影評(píng)

This is a story of people who don't belong and don't particularly want to belong, and yet are inevitably sad at not belonging.

這是一個(gè)關(guān)于本不屬于彼此，也不愿屬于彼此，但又宿命般因不能相守而悲傷沉淪的兩個(gè)戀人的故事。

— Edward Guthmann

The story may end in Taiwan on a heartbreaking note, but we're left somewhere between here and there, happily drifting through the film's luscious netherworld of sound and image.

故事本可以結(jié)束在臺(tái)灣，留下傷感的余音，但我們的心思卻散落在影片的某些片段中，游魂一般在聲像創(chuàng)造的性感華麗的地下世界中暢游。

— Rob Nelson

No.63 小城之春

Spring in a Small Town, 1948

導(dǎo)演：費(fèi)穆

影評(píng)

Its cool understatement in terms of narrative and performance, its psychologically illuminating use of interiors and exteriors, and its imaginative use of occasional voiceover to explore – but teasingly never pin down or delimit – the wife's conflicting emotions: all these are combined to create a sophisticated work of sharp and subtle insights that are as relevant today as when the film was made.

這部電影在敘事和表演上冷靜而低調(diào)，它對(duì)于內(nèi)外場(chǎng)景的運(yùn)用富于心理暗示，它偶爾出現(xiàn)的畫外音充滿了想象力，這些旁白探究著、卻挑逗般從不界定妻子矛盾的情緒。所有這些組合起來，創(chuàng)造出了一個(gè)充滿洞見，犀利又微妙的成熟作品。無論在當(dāng)時(shí)還是今日，都能引發(fā)共鳴。

— Geoff Andrew

No.56 重慶森林

Chungking Express, 1994

導(dǎo)演：王家衛(wèi)

影評(píng)

These stories, about disconnections, loneliness and being alone in the vast city, are photographed in the style of a music video... What happens to the character is not really the point; the movie is about their journeys, not their destinations.

這些都是關(guān)于疏離、寂寞和孤身一人在大都市中生存的故事，攝影風(fēng)格如同MV……人物身上發(fā)生的事情不是重點(diǎn)，重要的是他們的歷程，而非目的地。

Wong is more of an art director, playing with the medium itself, taking fractured elements of criss-crossing stories and running them through the blender of pop culture.

王家衛(wèi)更像是一個(gè)美術(shù)指導(dǎo)，他善于操控媒介本身，從縱橫交錯(cuò)的故事中提煉出碎片化的元素，再把各種流行文化糅雜進(jìn)去。

— Roger Ebert

No.54 飲食男女

Eat Drink Man Woman, 1994

導(dǎo)演：李安

影評(píng)

The sometimes surprising romances of Eat Drink Man Woman keep spinning, illuminating the irrationality of life. Desire pulls everyone in different directions. Eating and sex — the primal urges of life, according to Lee — dominate these outwardly sophisticated characters, who even woo each other with food.

《飲食男女》中時(shí)不時(shí)出人意料的愛情故事一直在編織描繪生活中不理性的地方。欲望把每個(gè)人拉向不同的方向。李安認(rèn)為，食與性是生命原始的沖動(dòng)，一直主導(dǎo)著這些外表精明的角色，就算求愛也要用食物。

— Michael Wilmington

No.41 活著

To Live, 1994

導(dǎo)演：張藝謀

影評(píng)

"To Live" is a simple title, but it conceals a universe.

“活著”是一個(gè)簡(jiǎn)單的標(biāo)題，但是它背后隱藏著一個(gè)宇宙。

It is a big, strong, energetic film, made by a filmmaker whose vision takes in four decades of his nation's history, and sees that ordinary people everywhere basically want what his heroine cries out for, a quiet life.

這是一部蕩氣回腸、充滿激情的電影，導(dǎo)演的視野橫跨了一個(gè)國(guó)家40年的歷史，他知道蕓蕓眾生最基本的需求與他的主人公所渴望的一樣：一個(gè)寧?kù)o的生活。

— Roger Ebert

No.38 牯嶺街少年殺人事件

A Brighter Summer Day, 1991

導(dǎo)演：楊德昌

影評(píng)

A Brighter Summer Day's extended running time pays off: Si'r's spiral towards tragedy never stretches credibility, because Yang takes the time to let it realistically occur, showing us each factor that contributes to his slow transformation.

這部影片的超長(zhǎng)時(shí)長(zhǎng)是值得的：小四朝著人生悲劇的逐漸轉(zhuǎn)變絕不會(huì)讓你覺得難以置信，因?yàn)闂畹虏龔娜莸赜么罅繒r(shí)間讓它真實(shí)地在你眼前發(fā)生，逐一展示每一個(gè)促成這場(chǎng)質(zhì)變的因素。

— A.A. Dowd

Politics and movies and fathers and sons and mothers and daughters and first love and scorching, insensate first jealousy... almost hallucinatory violence that feels like Greek tragedy and Proust and Shakespeare.

政治、電影、父親、兒子、母親、女兒、初戀、煎熬，第一嘗到的失去理智的嫉妒......幻覺般的暴力讓我們聯(lián)想到希臘悲劇、普魯斯特和莎士比亞。

——Ray Pride

No.25 一一

Yi Yi, 2000

導(dǎo)演：楊德昌

影評(píng)

Edward Yang was a master of transmuting grand socio-political narratives into something deeply intimate: the story of a young couple or a family could be the story of a city, a country, an entire era.

在這方面，楊德昌是個(gè)大師，他總能將宏大的社會(huì)政治敘事潛移默化為深入人心的私密故事。一對(duì)年輕夫婦或者一個(gè)家庭的故事可以是一個(gè)城市、一個(gè)國(guó)家，甚至于一個(gè)時(shí)代的縮影。

It is a film that plunges you into lives that feel fully lived with the confidence of a great novel; it thrives on details while being undeniably sweeping.

這部電影有著一部偉大小說的自信，能讓你沉浸于片中那些全身心投入生活的人物的故事中，它勝在細(xì)節(jié)，又絕不失廣度與深度。

— David Sims

No.18 悲情城市

A City of Sadness, 1989

導(dǎo)演：侯孝賢

影評(píng)

Set in mid-1940s Taiwan, when the Kuomintang government took control of the island from Japan's colonial rule, Hou Hsiao-hsien's historical drama appears to be a chronicle of the misfortunes of the Lin family. But Hou used the Lins to put the dark history of Taiwan in the spotlight.

這部電影的故事發(fā)生在上世紀(jì)四十年代中期，國(guó)民黨從日本殖民者手中接過臺(tái)灣統(tǒng)治權(quán)的時(shí)候。侯孝賢這部歷史劇似乎是林氏家族厄運(yùn)的一部編年史，但是他用林家的故事將臺(tái)灣這段黑暗歷史推到了聚光燈下。

What seem to be mundane events experienced by the four Lin brothers illustrate the pain and struggles of the people in Taiwan during the times of February 28.

林家四兄弟所經(jīng)歷的看似平凡的事件讓我們感受到了臺(tái)灣人在二•二八事件中的悲痛與抗?fàn)帯?/p>

— Vivienne Chow

No.12 霸王別姬

Farewell My Concubine, 1993

導(dǎo)演：陳凱歌

影評(píng)

Chen Kaige's Farewell My Concubine tells the story of two Peking Opera actors' fluctuating fortunes, from childhood onwards, but it is actually about the passage of time, about glory and decay, about persevering love and hatred.

陳凱歌的《霸王別姬》講述了兩個(gè)京劇演員自孩提時(shí)代起就曲折動(dòng)蕩的命運(yùn)，但這實(shí)際上是一個(gè)關(guān)于時(shí)光的流逝，盛世與衰敗，不屈不撓的愛與恨的故事。

A sumptuous, ambitious, unpredictable epic, it sweeps the viewer through 52 tumultuous years of Chinese history, from 1925 to 1977, as the characters are kicked back and forth by warlords, Japanese invaders and the Cultural Revolution.

這部華麗、宏大、變幻莫測(cè)的史詩(shī)帶著觀眾感受了中國(guó)從1925至1977年間52年的動(dòng)蕩歷史，講述了主角們?cè)谲婇y、日本侵略者和文化大革命等時(shí)期顛沛坎坷的命運(yùn)。

— Huang Haikun

No.9 花樣年華

In the Mood for Love, 2000

導(dǎo)演：王家衛(wèi)

影評(píng)

Loneliness and longing permeate the smoky, colourful atmosphere of Wong Kar-wai's dreamy In the Mood for Love. Breaking down all the conventions of cinematic love stories, the characters barely touch and only allow slivers of their inner lives to peek through.

寂寞和欲望像煙霧一樣，彌漫在王家衛(wèi)的《花樣年華》如夢(mèng)似幻而又色彩斑斕的氛圍中。這部電影打破了所有愛情片的陳規(guī)，主角之間幾乎沒有觸碰，僅僅開了一道小口讓觀眾去窺視他們的內(nèi)心世界。

In the Mood for Love is a film that ripples with textures and sensual energy as the camera becomes preoccupied with small gestures: the rattling of mahjong tiles, the way fabric bends, hands leaning on a tabletop. It is a film where absence is infused with beauty, poetry and romance.

《花樣年華》蕩漾著質(zhì)感與感官的漣漪，攝影機(jī)總是專注于各種小動(dòng)作：嘩啦作響的麻將、綢緞彎曲的樣子、倚在桌上的手。這是一部在留白中注入優(yōu)美、詩(shī)意與浪漫的電影。

— Justine Smith