本文来源：中国日报网双语新闻（chinadaily_mobile)
BBC文化频道最近邀请全球177位影评人投票选出了21世纪最伟大的100部电影，大卫·林奇2001年的超现实名作《穆赫兰道》名列榜首，王家卫的《花样年华》位列第二。
除了《花样年华》，还有三部华语片上榜：杨德昌的《一一》【8】、李安的《卧虎藏龙》【35】以及侯孝贤的《刺客聂隐娘》【50】。
来看看都有哪些电影，附前25名的BBC点评。
穆赫兰道
Mulholland Drive (2001)
导演：大卫·林奇
http://www.bilibili.com/video/av1139361/
Lynch’s film is so gorgeous and so painful, so mysterious and, in many ways, so recognisable that, whatever theory you ascribe to it, the picture does indeed reflect a reality that moves beyond southern California and parks itself in our brains, tapping into our dreams, deepest fears, inscrutable natures, and erotic desires.
林奇的这部电影华美之极又痛苦之极，神秘诡谲又莫名熟悉，无论你套以何种解释，那些画面都能超越南加州，反观现实，并驻留在我们的脑海里，钻进我们的睡梦之中、恐惧深处，潜入我们无法名状的性情和肉欲中。
– Kim Morgan, Sunset Gun, US
花样年华
In the Mood for Love (2000)
导演：王家卫
http://www.bilibili.com/video/av1273829/
Wong Kar-wai is one of world cinema’s most notorious perfectionists, but he earned every moment of editing-room indecision with In the Mood for Love, the rare movie that draws much of its melancholy power from what it leaves off-screen.
王家卫是世界影坛最臭名昭著的完美主义者，不过他耗在剪辑室里的每一个无法决断的瞬间，在《花样年华》中都值了。这是一部罕见的用留白来积蓄忧郁力量的电影。
We never see the faces of the spouses whose affair pulls two lonely neighbours into their delirious romantic spiral. We never see the sex scene that Wong shot but omitted, all the better to heighten the erotic charge of every swaying hip and every voluptuous swirl of the camera.
我们从未见到那两个出轨的配偶，正是他们的婚外情把两个孤独的邻居卷入一场意乱情迷的浪漫旋涡。我们也从未看到王家卫拍了又剪掉的床戏，这让每一次腰肢的摇曳和撩人的镜头都充满情色张力。
And we never hear the lost, whispered words at the climax, which would be superfluous in any case: never before has a film spoken so fluently in the universal language of loss and desire.
我们也从没听到过高潮部分那些无从知晓的喃喃细语，就算听到了，也是多余，因为从来没有哪部电影能将失落和欲望的普遍主题讲述得如此流畅。
– Justin Chang, Los Angeles Times
血色将至
There Will Be Blood (2007)
导演：保罗·托马斯·安德森
在线地址（付费）
http://www.iqiyi.com/dianying/20130226/bdaa61572b3331d1.html?fv=p_02_02&frp=v.baidu.com%2Fmovie_intro%2F&fc=80a6be5a674c94d0&vfm=bdvtx&kwid=27776
From its near-wordless opening scene, Paul Thomas Anderson’s There Will Be Blood feels like something forged, not filmed.
几乎无声的开场使得保罗·托马斯·安德森这部《血色将至》像是锻造出来的，而不是拍出来的。
Daniel Day-Lewis, as turn-of-the-century prospector Daniel Plainview, grunts, spits and scrapes his way into a hole under baked Western earth; he strikes silver, drags his half-broken body to certify his claim, winds up discovering oil.
丹尼尔·戴·刘易斯饰演的矿工丹尼尔·普莱恩惟尤咕哝着、吐着唾沫星子，在炎热的西部地下开采。他找到了银矿，拖着自己半残的身体确认所得，竟意外发现了石油。
The rest of the movie – a sprawling, half-mad testament to greed, industry, moral hypocrisy and ballyhoo at their most elementally American – could be watched with no sound at all and still be perfectly understood.
接下来的电影蔓延伸展，半带疯狂地见证着最具美国特色的贪欲、工业、虚伪和喧嚣。同样可以完全不带声音地看下去，且丝毫不影响理解。
– Ann Hornaday, The Washington Post
千与千寻
Spirited Away (2001)
导演：宫崎骏
It’s hard to place any one of Studio Ghibli’s sweet, passionate animated films above the others, but Hayao Miyazaki’s Spirited Away does particularly stand out for its visual sophistication and elaborate themes of determination, courage and good cheer.
从吉卜力工作室诸多的甜美、富于激情的动画电影中选出一部最棒的并不容易，但宫崎骏的《千与千寻》确实以其高度成熟的画面语言、精心阐述的决心、勇气与乐观等主题而显得更加出彩。
Miyazaki’s story of a young girl trying to rescue her parents, feels like a throwback to an earlier age of hand-drawn animation. Made at a point where CGI was taking over animated features in theUS, Spirited Away has a lovingly handmade feel. It’s a traditional fairy tale turned into an exciting narrative of transformation and discovery.
宫崎骏这个关于小女孩努力解救父母的故事就像是带我们回到一个手绘动画的时代。在当时的美国，动画长片已基本上都由电脑绘图，但《千与千寻》却带着可爱的手绘质感。这部电影将传统神话打造为关于转变与发现的激动人心的叙事。
– Tasha Robinson, The Verge, US
少年时代
Boyhood (2014)
导演：理查德·林克莱特
This 21st Century masterpiece took most of the 21st Century to make. For more than a decade, Richard Linklater spent a few weeks each year chronicling the life of Mason.
这部21世纪的杰作耗费了这个世纪的很长一段时间来制作。12年来，导演林克莱特每年花几个星期来记录男孩梅森的生活。
Watching the cast, which also includes Ethan Hawke and a remarkable Patricia Arquette, age before our eyes, adds an extra layer of poignancy to every single scene.
我们看着整个剧组，包括伊桑·霍克和出色的帕特丽夏·阿奎特，在眼前慢慢成长、老去，每一帧画面都因此增添了一抹辛酸滋味。
In an era when every aspect of society was accelerating, Linklater slowed down to tell the one of the definitive stories of our time.
在这样一个时代，社会的方方面面都在快节奏发展，而林克莱特却慢下步伐，耐心讲述了一个带有我们这个时代强烈印记的故事。
– Matt Singer, ScreenCrush, US
美丽心灵的永恒阳光
Eternal Sunshine of the Spotless Mind ( 2004)
导演：米歇尔·冈瑞
The story of a breakup gone wrong, Eternal Sunshine of the Spotless Mind could easily have gone wrong itself. But this wasn't your average whimsical tale of romantic yearning.
这是一个分手分出一堆问题的故事，而电影本身也极有可能出问题。但它绝不是一部普通的浪漫幻想爱情片。
Jim Carrey boldly pushed against type to portray a perennially sad man literally trapped by his grievances and eager to let them unravel.
影片主演金•凯瑞这次跳脱了他一贯无厘头喜剧的风格，饰演了一个长期陷入忧郁和茫然，并努力想逃离这一切的男人。
But the movie belongs just as much to Kate Winslet, whose character's decision to erase her own memories of the ex-couple's time together sets the drama in motion.
这部电影同样属于女主凯特•温丝莱特，她想把与前男友的记忆从脑海中彻底抹去的决定，推动着剧情戏剧性地发展。
– Eric Kohn, Indiewire, US
生命之树
The Tree of Life (2011)
导演：泰伦斯·马力克
Like a great poem, The Tree of Life opens itself to a thousand interpretations, as director Terrence Malick takes a spiritual and lyrical journey through time, from a dusty 1950s childhood in Texas back to the beginnings of the cosmos itself.
这是一部充满诗意的电影。从1950年代的少年时光到宇宙的起源，导演泰伦斯·马力克带领观众的心灵在时空中优雅地穿梭跳跃。
This strange new pillar in the cathedral of US cinema stars Brad Pitt as an authoritarian father and Jessica Chastain as a tender and deeply religious mother of three sons.
这部电影怪诞却无疑是挺立在美国电影殿堂中的新支柱。布拉德·皮特出演了一位父权至上，拥有三个孩子的父亲，杰西卡·查斯坦饰演了温柔但一丝不苟遵循宗教信条的母亲。
Emmanuel Lubezki’s cinematography is sun-dappled, or oozes images of boiling lava, dinosaurs and exploding planets, all to a soundtrack of Preisner’s Requiem — in this case a requiem to a dead son. The joys and aching losses of parenting become transcendent, even Biblical, in Malick’s hands.
在艾曼努尔·卢贝兹基镜头下的电影语言被日光照耀的斑驳陆离，充斥着滚滚岩浆、恐龙和爆炸的星体，与泽贝纽·普瑞斯纳的安魂曲完美结合，那是为死去的孩子演奏的安魂曲。在马力克的剧本中，这对父母亲的愉悦与悲伤被无限放大，甚至有些《圣经》的风格。
– Kate Muir, The Times, UK
一 一
Yi Yi: A One and a Two (2000)
导演：杨德昌
http://www.bilibili.com/video/av2815359/
Audiences in 2000 were astonished by how fluently Edward Yang’s Yi Yi portrays contemporary life through the intermingling stories of members of a Taipei family separated by the dilemmas specific to their stations in life.
2000年的观众都为《一一》所震撼——杨德昌如何能将一个台北家庭中各个成员的不同故事混叠在一起叙述，却极其自然流畅地刻画出了当代生活。故事里，一家人因陷入不同生命阶段的特殊困境而互相隔绝。
Yi Yi is a reverently meticulous film, with its painstakingly detailed moods, and rituals that are seemingly endemic to the characters and their customs. Yet, it is also grandly universal. Its quiet reflections on life, love, family and death are all gracefully affecting, no matter the gap in generation and culture.
《一一》是一部用心至极的精致电影，颇费心思地细腻抒情，当中涉及的仪式场景带有地方性特色，贴合人物生活环境的习俗。但同时，这部电影却又具有普遍性意义。不论观者与电影中的人事隔着怎样的年代与文化差异，它那极安静的、对于生命、家庭与死亡的映射都是那样美而有感染力。
– Oggs Cruz, Rappler, Philippines
一次别离
A Separation (2011)
导演：阿斯哈·法哈蒂
http://www.bilibili.com/video/av2001216/
If there is a film that makes you take a deep look at yourself in the mirror again and again, this is it. Asghar Farhadi’s searing relationship drama does not make a judgement about its characters. Rather, it pitches the situations so realistically that the viewer ends up sympathising with both protagonists even though they are pitted against each other.
如果说有哪部电影能让你在看完后对着镜子陷入深深思考，那毫无疑问就是它了。阿斯哈·法哈蒂强烈的戏剧冲突没有对任何角色进行完全的褒贬。他将电影中的场景刻画得自然真实，到头来还让观众为了相互折磨的主人公们胸口发闷。
– Utpal Borpujari, Freelance, India
老无所依
No Country for Old Men (2007)
导演：伊桑·科恩 / 乔尔·科恩
http://www.bilibili.com/video/av695333/
Readers of Cormac McCarthy’s No Country for Old Men put down the novel possessing a distinct image of its villain. The Anton Chigurh on the page became vividly seared into our consciousness. That image, though, is not Javier Bardem in the Coen Brothers’ Oscar-winner for best picture.
读过科马克·麦卡锡的小说《老无所依》的人都会对书中那个反派有一个鲜明印象。书中的冷血杀手安东·齐格已经深深烙进我们的意识中，那并不是科恩兄弟这部奥斯卡获奖影片主演哈维尔·巴登的形象。
Yet Bardem’s film characterisation is so powerful, so splendidly overwhelming in his random application of violence, that he manages to extinguish whatever preceded it in the mind of the audience.
然而，巴登的演绎太有力度，他用随意不经心的暴力表达华丽丽地将我们制服，把观众脑海中先前的印象一抹而光。
Set in West Texas in 1980, No Country for Old Men’s sense of time and place are unparalleled. There’s a hypnotic quality to the movie’s pace, watching characters you can’t help but like make a series of catastrophic decisions that bring each into Chigurh’s universe, a world soaked in blood with a predetermined outcome.
《老无所依》背景是1980年的德州西部。整部电影的节奏带着催眠般的效力，你看着那些你无法不爱的角色做出一系列灾难性的决定，把自己送进杀手齐格的世界，而那是一个用血腥浸染的世界，一切结果都已预知。
– Ben Mankiewicz, Turner Classic Movies, US
醉乡民谣
Inside Llewyn Davis (2013)
导演：伊桑·科恩 / 乔尔·科恩
http://www.bilibili.com/video/av2384654/
He's a messy haired loner strumming an acoustic guitar, struggling to show the world he's got talent. No one cares, and no one wants to listen.
他独自一人漫不经心地弹着民谣吉他，发丝凌乱，挣扎着告诉世界自己的才华。但无人驻足，无人在意。
Set in the Greenwich Village folk scene of the 1960s, the Coen brothers' Inside Llewyn Davis is an achingly melodic tribute to an unloved underdog.
故事发生在六十年代的美国格林威治村，科恩兄弟的这部作品描画了一个没人关爱的失败者辛酸落魄又旋律悠扬的生活。
Davis (Oscar Isaac) is striking out on his own after his musical partner goes solo. Along his dour journey, he'll find others vying for similar success and others just trying to survive, in a very Coen-esque manner.
主角戴维斯（奥斯卡•伊萨克饰）在搭档离去后背着吉他孑然一身地独唱。在他阴郁的独行路上，他会发现还有人跟他一样挣扎着触摸光明，还有很多人仅是卑微地生存着，一切都以典型的科恩兄弟式的方式展现出来。
– Monica Castillo, The New York Times’ Watching, US
十二宫
Zodiac (2007)
导演：大卫·芬奇
http://www.bttiantang.com/subject/5607.html
Zodiac, David Fincher's meticulous, gorgeous and haunting true crime movie, is a deep dive into obsession, following a newspaper cartoonist who becomes consumed by the 1970s Zodiac murders.
《十二宫》是大卫·芬奇一部细腻、惊艳、货真价实的犯罪电影，看过经久难忘。电影通过讲述一名报纸漫画家卷入70年代的十二宫连环杀人案的故事，深刻地疯魔了一把。
Gloriously detail-driven, Zodiac drags viewers into a compulsive world where the smallest hint can be the biggest clue, and it presents the obsessive’s worst nightmare: that, in the end, answers are utterly unattainable.
电影在让人惊叹的细节中发展，把观众拖入一个欲罢不能的世界，最细微的暗示都可能是最大的线索。然而，却给了疯魔者们一个最害怕的梦魇：真相永远不可知晓。
– Devin Faraci, BirthMoviesDeath, US
人类之子
Children of Men (2006)
导演：阿方索·卡隆
http://www.le.com/ptv/vplay/20950909.html?ch=baidu_ffdy&frp=v.baidu.com%2Fmovie_intro%2F&vfm=bdvtx&ref=bdvpay
Here’s a bold statement about a bold movie: Children of Men, like no other film this century, and perhaps no other movie ever, solves the meaning of life.
给这部大胆的电影下一个大胆的评论：《人类之子》不同于本世纪任何一部电影，也许迥异于历史上任何一部电影，回答了什么是生命的意义。
Alfonso Cuarón’s staggering 2006 adaptation of PD James’ novel is rich and vital in its emotional and philosophical depth: its sadness, its anger, its reverence and worry for humanity.
阿方索·卡隆在2006年改编自PD·詹姆斯原著的这部令人震惊的电影，在情感和哲学深度上都极为丰富和重要：它的悲哀、它的愤怒，和对人性的膜拜和担忧。
– Richard Lawson, Vanity Fair, US
杀戮演绎
The Act of Killing (2012)
导演：乔什•奥本海默
http://www.bttiantang.com/subject/22674.html
Harrowing, confrontational and surreal, The Act of Killing ends with Anwar Congo, the gangster who murdered nearly 1,000 people in 1965-66 following the military coup in Indonesia, coming to terms with his heinous crimes. Possibly. He sobs, vomits and laments the lives he had willfully taken away, and yet we're never sure if he's genuinely repentant or if it's all a high-wire act on his part.
折磨人心、充满对抗和不真实感的《杀戮演绎》，在刽子手安瓦尔•冈戈（Anwar Congo）承认自己令人发指的罪行后结束。从1965年到1966年，在印度尼西亚的军事政变后，安瓦尔屠杀了近千人。他为那些他肆意杀害的生命抽泣、呕吐、感叹，但我们并不知道他是不是真的在忏悔，或者这只是他做作地表演。
The Act of Killing is a piercing, multilayered study about national amnesia, about the power of self-deceit and the questionable morality of truth-seeking. Its status as the 21st Century's most celebrated documentary will likely be preserved for a long time to come.
这部电影是对举国遗忘一段历史这种现象的深刻而多层次的研究，同时也是对自我欺骗的力量和追寻真相与道德角力的探索。它作为21世纪最伟大的纪录片的地位，将会长远地保持下去。
– Joseph Fahim, Freelance, Egypt
四月三周两天
4 Months, 3 Weeks and 2 Days
导演：克里斯蒂安·蒙久
http://www.bilibili.com/video/av2009392/
One scene, one cut, zero music. Cristian Mungiu's 2007 Palme d'Or winner is a touchstone of the Romanian New Wave, a stark wonder of a film exemplified by visual precision, a bracingly clear-eyed script and glacial detachment. Imbuing a backstreet abortion with the brutal tension of a crime thriller – and abortion was a crime in 1980s Romania – Mungiu evokes the callous and repressive atmosphere of Ceausescu's foundering dictatorship.
一个场景只有一个长镜头，没有背景音乐。蒙久这部作品摘得2007年金棕榈奖。作为罗马尼亚新浪潮的试金石，它以准确的视觉、清晰的剧本和以超然的视角完成了一次质朴的惊艳。1980年代，罗马尼亚堕胎还是违法的，片中的秘密堕胎贯穿着犯罪惊悚片的紧张感，让人想起了齐奥塞斯库独裁统治下无情压抑的氛围。
– Maggie Lee, Variety, Hong Kong
神圣车行
Holy Motors
导演：莱奥·卡拉克斯
http://www.bilibili.com/video/av2580430/
潘神的迷宫
Pan's Labyrinth
导演: 吉尔莫·德尔·托罗
http://www.bilibili.com/video/av2164762/
– Ana Maria Bahiana, Freelance, Brazil
白丝带
The White Ribbon
导演：迈克尔·哈内克
http://www.acfun.tv/v/ac494126
“一群孩子成为沉默的犯罪者”，这一设定已足够令人不安，然而哈内克还把背景设在一次世界大战数月前的德国村庄，不但挑战了童年是天真的这一神话，而且这个虚构的故事仿佛是战争的前传。哈内克的电影总是挖掘人性的罪恶，而其中并没有谁就应该受到谴责。
疯狂的麦克斯：狂暴之路
Mad Max: Fury Road
导演：乔治·米勒
http://www.acfun.tv/v/ac1978751
纽约提喻法
Synecdoche, New York
导演：查理·考夫曼
http://www.bilibili.com/video/av711776/
布达佩斯大饭店
The Grand Budapest Hotel
导演：韦斯·安德森
http://www.bilibili.com/video/av1907043/
迷失东京
Lost in Translation
导演：索菲亚·科波拉
http://www.56.com/u57/v_NTgyNzc2MDY.html
隐藏摄像机
Caché
导演：迈克尔·哈内克
http://www.bilibili.com/video/av1317707/
大师
The Master
导演：保罗·托马斯·安德森
http://www.acfun.tv/v/ac2509225
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。
记忆碎片
Memento
导演：克里斯托弗·诺兰
http://www.bilibili.com/video/av3652543/
第25小时
25th Hour
社交网络
The Social Network
对她说
Hable con ella
机器人总动员
WALL· E
老男孩
올드보이
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