No year and best movie list is definitive, because no year of movie-going experience can be reduced to bullet points.
年度最佳电影名单并非定论，因为观影经历无法简化为几个要点。
Nor should it be.
也不应该如此。
Particularly now, when we can watch so many new Movies without leaving our homes, the experience of watching has changed, and in ways we may never be able to fully reckon with.
特别是现在，我们可以在家中观看如此之多的新电影，观影体验已经发生了改变，而且我们可能永远无法完全弄清楚其中的变化。
You can watch a great movie at home and fully acknowledge its greatness: after all, streaming older movies, or watching them on physical media, is how most of us learn about movie history.
你可以在家里观看一部伟大的电影，并完全承认它的伟大：毕竟，通过流媒体观看老电影，或者在物理媒体上观看它们，是我们大多数人了解电影历史的方式。
But a year of new movies, whether you watch them at home or not, should be much more expansive than your living room.
但一年的新电影，无论你是否在家观看，都应该比你的客厅更加广阔。
Following are 10 movies that kept me thinking in the hours, days, and months after I watched them.
以下是 10 部在我观影后，让我在接下来的几个小时、几天甚至几个月里都不断思考的电影。
I think I'm falling in love with you.
我想我爱上你了。
You say that a lot, I imagine.
我想你经常这么说。
It's impossible to get through life without messing a few things up.
生活中不搞砸一些事情是不可能的。
But how much messing up is too much?
但是搞砸多少才算过分呢？
At the center of Ira Sachs' half-funny, half-melancholy Passages is a self-centered filmmaker, played in a dazzling performance by Franz Rogowski, who windmills through life with reckless disregard for the feelings of those around him, including his husband and the young woman who has temporarily entranced him At best, he's exasperating.
在艾拉·萨克斯的半喜剧、半忧郁的电影《过道》中，一个自我为中心的电影制片人处于核心位置，由弗兰茨·罗戈夫斯基出色地扮演，他毫不顾及周围人的感受，包括自己的丈夫和暂时迷住他的年轻女子。往好了说，他令人恼火。
At worst, he inflicts deep and lasting pain.
在最坏的情况下，他会造成深刻而持久的痛苦。
And still, you feel something for him.
尽管如此，你还是对他有感觉。
His electricity is also his curse, and as this love triangle unfolds, it may leave you feeling the charge and the anguish all at once.
他的魅力也是他的诅咒，随着这个爱情三角关系的展开，你可能会同时感受到电荷和痛苦。
There are two types of people in the world: those who view rock' n' roll dreams as small things you eventually grow out of and those who never stop living them, even if they confine their dream time to the spiral grooves of sides A and B.
世界上有两种人：一种人认为摇滚梦想是你最终会长大超越的小事，另一种人永远不会停止活在这些梦想中，即使他们将梦想局限于 A 面和 B 面的螺旋槽里。
Bill Pohlad's Dreamin' Wild, based on real-life events, and starring Casey Affleck and Walton Goggins, is for the second group, a story about what happens when two people who sought pop stardom as teenagers get a second chance in middle age.
比尔·波拉德的《狂野梦想》是根据现实生活中的事件改编的，由凯西·阿弗莱克和沃尔顿·戈金斯主演，讲述了两个在青少年时期追求流行明星梦的人在中年获得第二次机会时发生的故事。
Music can mean a lot in one lifetime: it can break dreams, but it can also mend them.
音乐在一生中意义重大：它可以打破梦想，但也可以修补梦想。
I'm here to speak to you today about your changing bodies.
我今天来这里是想谈谈你们不断变化的身体。
Movies dealing with the specifics of women's experience are still a relative rarity on the movie landscape.
涉及女性经历细节的电影在电影领域仍然相对罕见。
How many studio execs are going to leap at the chance to finance a film about the onset of menses and, by suggestion, its lunar twin, menopause?
多少电影公司高管会乐意抓住这个机会，资助一部关于月经开始的电影，并暗示其月相孪生——更年期的电影呢？
Featuring a superb cast, including Rachel McAdams, Benny Safdie, and Abby Ryder Fortson, Kelly Fremon Craig's adaptation of Judy Blume's 1970 coming-of-age classic is largely about the confusion of adolescence.
瑞秋·麦克亚当斯、本尼·萨夫迪和艾比·莱德·福特森等演员阵容阵容强大，凯利·弗雷蒙·克雷格改编自朱迪·布鲁姆 1970 年的经典成长故事，主要讲述了青春期的困惑。
But also, more subtly, it addresses what it means for women to say goodbye to all that as they hit middle age.
但更微妙的是，它还探讨了女性步入中年后告别这一切意味着什么。
This is a great movie for young people, but maybe even a better one for those who find themselves looking through the far end of the telescope.
对于年轻人来说，这是一部很棒的电影，但对于那些发现自己在望远镜的另一端看东西的人来说，这可能是一部更好的电影。
To watch Lily Gladstone in Martin Scorsese's Killers of the Flower Moon is to recapture a thread of history that has, until recently, eluded most of us.
观看莉莉·格莱斯顿在马丁·斯科塞斯的《花月*手》中的表演，是为了重新捕捉到一段我们大多数人直到最近才发现的历史线索
Scorsese has made a somber, poetic adaptation of David Grann's account of how a group of greedy white men systematically murdered members of the Osage Nation in early 1920s Oklahoma.
斯科塞斯将大卫·格兰关于 1920 年代初期俄克拉荷马州一群贪婪的白人如何系统地谋*奥萨奇族成员的叙述，拍成了一部凝重而富有诗意的改编作品。
As Mollie Burkhart, a rich Osage woman whose family was gradually killed off around her, Gladstone gives face to a million stories that have been conveniently forgotten in modern America.
作为莫莉·伯克哈特，一位富有的奥萨奇女性，她的家庭逐渐在她周围被*害，格拉德斯通给了那些在现代美国被方便地遗忘的无数故事一个面孔。
Scorsese's mournful epic also features bigger movie stars, like Leonardo DiCaprio and Robert De Niro.
斯科塞斯的这部悲情史诗还请来了一些大牌影星，比如莱昂纳多·迪卡普里奥和罗伯特·德尼罗。
But Gladstone's Mollie is the soul of his film, and he knows it.
但是格莱斯顿的莫莉是他电影的灵魂，他知道这一点。
In writer-director Celine Song's stirring debut film, a Korean immigrant who has built a life for herself in Toronto and New York reconnects with the childhood friend she left behind years ago.
在编剧兼导演席琳·宋感人至深的处女作中，一位在多伦多和纽约建立起自己生活的韩裔移民重新与多年前留下的童年朋友联系在一起。
Her husband stands by, a witness to the subterranean crackle of their connection.
她的丈夫站在一旁，见证了他们之间的秘密联系。
In any life, there are an infinite number of roads not taken, we can be on only one road at a time.
在任何一生中，都有无数条未选择的道路，我们一次只能走一条路。
Song's movie is all about the mournful beauty of missed opportunities, a recognition of the truth that yearning is part of life.
这部电影讲述的是错过机会的悲哀之美，以及对渴望是生活一部分这一事实的认识。
Without it, all we're left with is false certainty, perhaps the greatest dishonesty of all.
没有它，我们所剩下的只是虚假的确定性，也许这是最大的虚伪。
The brother of French writer-director Alice Winocour survived the 2015 terrorist attack at the Bataclan concert hall in Paris.
法国作家兼导演艾丽丝·维诺库尔的兄弟在 2015 年巴黎巴塔克兰音乐厅的恐怖袭击中幸存下来。
Unable to communicate with him as he hid, she had to wait to hear if he'd made it out alive.
在他躲藏期间无法与他沟通，她不得不等待消息，看他是否幸存下来。
In Revoir Paris, Virginie Efira gives a shattering performance as a woman who survives a similar, but fictional attack, though the meaning of survival here is complex.
在《巴黎记忆》中，维尔京妮·艾菲拉献上了一场令人心碎的表演，扮演一位在类似但虚构的袭击中幸存下来的女性，然而，这里的幸存意味着复杂多变。
Efira's Mia can't recall much of the horrific event, but over time, she finds her way back to life, and to feeling, by connecting with others whose lives were also broken by the tragedy.
艾菲拉饰演的米娅几乎无法回忆起这个恐怖事件的细节，但随着时间的推移，她通过与其他因这场悲剧而破碎的人们建立联系，逐渐找回了生活的方向和感受力。
Without preciousness or platitudes, Winocour and Efira plumb the stark and sometimes painful truth of what it means to commit to the world of the living.
维诺库尔和艾菲拉毫不做作地、也没有陈词滥调地挖掘了承诺活在世上意味着什么的严峻而有时痛苦的真相。
Elvis is everywhere, even 46 years after his death.
埃尔维斯无处不在，即使在他去世 46 年后。
But what about Priscilla Beaulieu Presley, the woman he met when he was a 24-year-old soldier stationed in Germany and she was just a girl of 14?
但普里西拉·比尤厄·普雷斯利呢？他是在 24 岁的时候在德国服役的，当时她只是一个 14 岁的女孩。
Sofia Coppola's film, adapted from Priscilla Presley's 1985 memoir, brings this story to the screen with infinite tenderness.
索菲亚·科波拉的这部电影改编自普里西拉·普雷斯利 1985 年的回忆录，以无限的温情将这个故事搬上了银幕。
Jacob Elordi plays Elvis, a great artist and a messed-up man who mistreated the woman he loved most.
雅各布·埃洛迪饰演埃尔维斯，一个伟大的艺术家，也是一个混乱的人，他曾虐待过他最爱的女人。
But the movie belongs to Cailee Spaeny as Priscilla, preternaturally self-possessed as a young teenager but both wiser and more resilient by age 27 when her marriage to royalty ended.
但这部电影属于凯莉·斯佩尼饰演的普里西拉，她在十几岁时就表现出异常的自信，但在 27 岁结束与皇室成员的婚姻后，她变得更加睿智和坚韧。
Spaeny walks us through this extraordinary but also painful span of time in one woman's life, one satin-slipper step after another.
斯佩尼一步步地引领我们走过一个女人生命中非凡但也痛苦的时期，每一步都像踩在缎子拖鞋上一样。
The everyday things many of us want and need—plenty of food, marital companionship, a safe and comfortable home —are the same things German SS officer Rudolf Höss, the longtime commandant of Auschwitz, and his wife Hedwig wanted for themselves and their family.
我们许多人想要和需要的日常事物——充足的食物、婚姻伴侣、安全舒适的家园——正是德国纳粹党的党员、奥斯维辛集中营长期指挥官鲁道夫·赫斯和他的妻子海德维希为自己和家人所期望的相同之物。
In Jonathan Glazer's ghostly, ice-cold film, adapted from Martin Amis' 2014 novel, Sandra Hüller plays Hedwig, who runs her household with starched-linen efficiency, vaguely cognizant of the horrors being perpetrated beyond her garden walls but viewing them as an annoyance rather than an atrocity.
在乔纳森·格莱泽冷酷神秘的电影中，根据马丁·埃米斯 2014 年的小说改编，桑德拉·赫勒饰演海德维希，她以梗直的亚麻布效率管理家务，对园墙之外正在发生的恐怖行径有些模糊的认识，但将其视为烦恼而不是暴行。
Christian Friedel's Höss is highly inventive when it comes to pleasing the higher-ups.
克里斯蒂安·弗里德尔饰演的赫斯在取悦上级时极具创造力。
His ideas are a fuel for evil.
他的思想是邪恶的燃料。
The Zone of Interest isn't just a semi-fictionalized view of history.
《利益区域》不仅仅是一种半虚构的历史观。
It's also a story for the here and now, a reminder that happiness built on the suffering of others is no kind of happiness at all.
这也是一个当下的故事，提醒我们，建立在别人痛苦之上的幸福根本不是幸福。
And if nothing sings in you, then you can't make music.
如果你内心没有歌唱的东西，那么你就不能创作音乐。
Pledging your life to another person is not for the faint of heart.
把自己的生命托付给另一个人是不适合胆小的人的。
Bradley Cooper's Maestro, less a biopic than a window into a complex, passionate marriage, is a modern rarity: an example of a starry, big-ticket production put to use in telling a truly grownup story.
布莱德利·库珀的《音乐大师》与其说是一部传记片，不如说是一扇通向一段复杂而充满激情的婚姻的窗口，它是现代罕见的：一部星光熠熠、耗资巨大的作品，讲述了一个真正的成人故事。
Cooper stars as conductor and composer Leonard Bernstein, complicated and charismatic as both an artist and a man.
库珀饰演指挥家兼作曲家伦纳德·伯恩斯坦，既是艺术家又是男人，既复杂又有魅力。
Carey Mulligan gives one of the finest performances of the year, a portrait of both steeliness and human fragility, as the Costa Rican–Chilean actor Felicia Montealegre, who became Bernstein's wife and the mother of his three children.
凯瑞·穆里根饰演的哥斯达黎加裔智利女演员费利西亚·蒙特亚莱格里成为伯恩斯坦的妻子和三个孩子的母亲，她的表演是今年最好的表演之一，刻画了冷酷和人性的脆弱。
This is grand-scale filmmaking that's also bracingly intimate.
这是一部宏大的电影制作，也令人振奋。
A tentative romance between a woman who's making the best of dreary workaday life and a metalworker whose perpetual drunkenness keeps him underemployed, plus one great dog.
一个女人在艰难的日常生活中尽力而为，与一个总是酗酒而无法充分利用工作的金属工匠之间的一段脆弱的浪漫关系，再加上一只伟大的狗。
Those are the main ingredients of Finnish filmmaker Aki Kaurismäki's Fallen Leaves, and he works magic with them.
这些是芬兰电影制作人 Aki Kaurismäki 的《枯叶》的主要成分，他用它们施展魔法。
Kaurismäki is the master of the deadpan humanist comedy, the type of picture that people may think of as merely odd or charming.
Kaurismäki 是冷峻人道主义喜剧的大师，这种类型的电影可能被人们认为只是奇怪或迷人。
Yet so much of life is made up of little revelations that form the core of who we are.
然而，生活中有许多小小的启示构成了我们的核心。
This is Kaurismäki's gift: to catch those moments, seemingly snatching them from the wind, and put them onscreen so that we, too, will know them when we see them.
这是 Kaurismäki 的天赋：：抓住那些瞬间，仿佛从风中夺取，将它们呈现在银幕上，这样我们也能在看到它们时认识它们。
