2016年北京國際電影節(jié)佳片推薦

International movie festivals usually draw crowds of film buffs, hoping to see the latest cinematic marvels to hit the big screen.

國際電影節(jié)總能吸引不少電影發(fā)燒友，他們希望見證新晉影史傳奇在大銀幕上的風(fēng)光。

This year’s Beijing International Film Festival, which runs from April 16 to 23, offers a long lineup of critically acclaimed films, many of which dissect the trials of youth. These films forgo the themes typically associated with young people – treacly romance, everlasting friendship–in favor of more complex meditations on life. Theirprotagonists, young as they are, confront invisible forces far greater than themselves,pressures and anxieties that stretch back for generations.

今年的北京國際電影節(jié)于4月16日至23日舉辦，屆時將展映大批口碑極佳的電影，其中不乏剖析、審視青年人的佳作。這些電影通過融合常與年輕人聯(lián)系在一起的兩大主題——甜蜜的愛情和永恒的友誼，突出了對生活的多重反思。電影中年輕的主人公們要面對自己難以克服的無形力量，他們面臨著幾代人共有的壓力和焦慮。

The Intern, for instance, depicts a young entrepreneur striving to balance her career andfamily. Another anglophone film, Brooklyn, transports viewers from a small Irish town to NewYork City, where its heroine learns to thrive in a growing Irish immigrant community. A thirdEnglish-language film, Straight Outta Compton, dramatizes the real-life ascent of a group ofyoung rappers who take music as a platform to denounce racial injustice.

以電影《實習(xí)生》為例，它講述了一個年輕企業(yè)家試圖平衡事業(yè)和家庭的故事。另外一部英語電影《布魯克林》則把觀眾從一個愛爾蘭小鎮(zhèn)帶到了紐約，電影的女主人公必須學(xué)習(xí)如何在快速壯大的愛爾蘭移民團體中成長。第三部英文電影《沖出康普頓》則改編自一群年輕說唱歌手真實的勵志故事，他們以音樂為平臺，譴責(zé)種族歧視。

There are also stories that reinterpret the meaning of family and emphasize the weight increasingly placed on young shoulders. Our Little Sister explores what happens when three young women adopt their stepsister, while the immigration drama Dheepan presents a family bound not by blood, but by necessity.

還有影片重新詮釋了家庭的意義，聚焦年輕人肩上越來越沉重的責(zé)任?！逗＝秩沼洝诽接懥巳忝媒蛹{同父異母的妹妹之后會發(fā)生什么，而移民電影《流浪的迪潘》則展現(xiàn)了一個不以血緣而以需求為紐帶的家庭。

Each of these films showcases what it means to be young–and all the uncertainties that entails.They’re sure to leave you inspired, as you walk out of the cinema.

每部電影都向我們展示了年輕意味著什么，以及它包含的所有不確定性。當(dāng)你走出電影院，它們一定會讓你有所感悟。

Brooklyn

《布魯克林》

Directed by John Crowley Ireland/UK

導(dǎo)演：約翰•克勞利 愛爾蘭/英國

Brooklyn is a film about a young Irish girl who must choose between two lovers and twocountries at the same time.

電影《布魯克林》講述了一個年輕愛爾蘭女孩必須同時在兩個愛人和兩個國家之間做出選擇的故事。

Adapted from Irish novelist Colm Toibin’s best selling novel, Brooklyn is set in both Ireland andUS, the two countries that the protagonist Eilis (Saoirse Ronan) calls home. In her nativeIreland, Eilis had few prospects, an underpaid job and a grim future in a small town. When she immigrates to the US, she feels homesick but nevertheless finds her niche. She starts toattend night school in accounting, has a promising career and finds love with a handsome Italian-American named Tony (Emory Cohen).

電影改編自愛爾蘭作家科爾姆•托賓的暢銷小說，《布魯克林》的背景設(shè)定在愛爾蘭和美國，這兩個國家都是主人公艾莉絲(西爾莎•羅南飾)口中的家鄉(xiāng)。在出生地愛爾蘭，艾莉絲在一個小鎮(zhèn)里過著毫無希望的生活，干著收入微薄的工作，面臨著殘酷的未來。當(dāng)移民到美國后，她開始思念故鄉(xiāng)，盡管如此，她還是找到了自己的位置。她開始上夜校學(xué)習(xí)會計，找到了一份前途大好的工作，還和意大利帥哥托尼(艾莫里•科恩飾)墜入愛河。

Complications arise when Eilis returns to Ireland for her sister’s funeral. During her brief stay,she becomes more in demand than she’d ever imagined. She gets a job as an accountant andattracts the attention of a desirable local bachelor, Jim Farrell (Domhnall Gleeson).

當(dāng)艾莉絲返回愛爾蘭參加姐姐的葬禮時，新的狀況出現(xiàn)了。在愛爾蘭的短暫停留，她發(fā)現(xiàn)自己變得比想象中更受歡迎。她找到了一份會計的工作，還受到了當(dāng)?shù)貎?yōu)質(zhì)單身漢吉姆•法雷爾(多姆納爾•格里森飾)的青睞。

Like many young people, Eilis stands at a crossroad. The decisions she makes will ultimatelydetermine whom she spends the rest of her life with, where she lives and what career shepursues. Eilis’ struggles in the US have transformed her from a fearful girl into a confident,self-reliant woman, and it is her newfound insight into her own character that allows her tomake the fateful choice.

和許多年輕人一樣，艾莉絲站在了人生的十字路口。她的選擇將決定她將和誰共度一生，在哪里生活，追求怎樣的事業(yè)。在美國奮斗的經(jīng)歷讓這個曾經(jīng)恐懼不安的女孩成為了自信、獨立的女人，也正是她新發(fā)現(xiàn)的自己個性中的洞察力，讓她能夠做出命運的選擇。

For over a century, American cinema has explored the immigrant experience, and an array of movies have depicted the struggles of migrants coming to the US. What makes Brooklyn freshis its small town story and empowered female protagonist who feels torn between differentworlds. “In Ireland, Eilis is a daughter with a history; in America she is a woman with a future;in both she is filled with displaced longing,” Guardian movie critic Mark Kermode wrote.

一個多世紀(jì)以來，美國電影一直在探究移民的經(jīng)歷，不少影片描繪了初來美國的移民的艱難奮斗。而讓《布魯克林》與眾不同的則是它講述的小鎮(zhèn)故事和它賦予女主人公選擇兩個不同世界的權(quán)利，這個抉擇讓她心痛。英國《衛(wèi)報》電影評論員馬克•柯默德寫道：“在愛爾蘭，艾莉絲是個有故事的女兒;而在美國她是一個有未來的女性;而無論哪個選擇都讓她有背井離鄉(xiāng)的感覺。”

《實習(xí)生》

Directed by Nancy Meyers, US

導(dǎo)演：南希•邁耶斯，美國

In the movie The Devil Wears Prada (《 穿普拉達的女王》, 2006), Anne Hathaway played a lowly intern,slaving away for a senior fashion diva. But in hernew film, The Intern, the roles have been reversed.Hathaway stars as a young fashion entrepreneur,Jules Ostin, who is in charge of intern twice her age, played by Robert De Niro.

在電影《穿普拉達的女王》(2006年)中，安妮•海瑟薇扮演了一名為資深時尚天后拼命工作的底層實習(xí)生。而在她的新片《實習(xí)生》中，角色完全逆轉(zhuǎn)了。海瑟薇飾演的朱爾斯•奧斯汀是時尚界的年輕企業(yè)家 ，管理一位年紀(jì)比她大一兩倍的實習(xí)生(羅伯特•德尼羅飾)。

His character, Ben Whittaker, used to be an executive in the phone book industry. Though heis 70 years old, he refuses to end his life in a retirement home. He decides to volunteer as anintern instead.

實習(xí)生本•惠特克曾在電話簿行業(yè)擔(dān)任高層。雖然已經(jīng)年過七旬，卻不愿在養(yǎng)老院中度過余生。于是他決定自愿當(dāng)起了實習(xí)生。

Jules, meanwhile, is balancing the pressure of managing a startup with the demands of abudding family. She has a stay-at-home husband and a young daughter that she starts toneglect as her business grows. Her days are packed with meetings, e-mails and phone calls.Ultimately, Ben uses his wisdom as a former executive to help Jules discover a better work-lifebalance.

與此同時，家有全職丈夫和年幼女兒的朱爾斯，正在努力平衡剛起步的事業(yè)帶來的壓力和走上正軌的家庭之間的需求。因為事業(yè)處于上升期，她開始無暇顧及父女兩人。每天的生活都被會議、郵件和電話占滿。最后，本用自己當(dāng)總經(jīng)理時積累的智慧幫助朱爾斯更好地達成了工作和生活之間的平衡。

The Intern has earned superb reviews for its plot and storytelling. The Atlantic culture editor David Sims called it director Nancy Meyers’ “best film in more than a decade”. The movie isinfused with lighthearted comedy and a laid-back style.

故事情節(jié)和敘事方式為《實習(xí)生》贏得了極高的贊譽。美國《大西洋月刊》文化版編輯大衛(wèi)•西姆斯稱它為導(dǎo)演南希•邁耶斯“近十年來最棒的電影”。這部電影是部讓人愉快的喜劇，充滿了輕松的氛圍。

“The Intern invites us to settle in from the start and practically throws a fleece blanket overour legs and asks us if we’d like some popcorn,” wrote Richard Roeper, a critic from the ChicagoSun Times. “It’s a lovely comfort movie, nestled softly in a cynicism-free zone.”

美國《芝加哥太陽報》影評員理查德•羅帕寫道：“從電影一開始，《實習(xí)生》就邀請我們坐下，在我們腿上蓋上塊羊毛毯，問我們想不想來點爆米花。這是一部美好舒適的電影，溫暖的敘事，沒有絲毫的憤世嫉俗。”

Dheepan

《流浪的迪潘》

Directed by Jacques Audiard, France

導(dǎo)演：雅克•歐迪亞，法國

“An astonishing film...radical and bold.” That is how The Independent describes Dheepan.Ever since its release in 2015, the movie has earned French director Jacques Audiard a waveof international accolades, which includes the top prize at Cannes, the Palme d’Or.

“一部讓人目瞪口呆的電影……激進且直白，”英國《獨立報》這樣形容電影《流浪的潘迪》。從2015年上映以來，這部電影讓法國導(dǎo)演雅克•歐迪亞享譽國際，其中包括戛納電影節(jié)頂級獎項——金棕櫚獎。

The story of Dheepan is indeed unconventional. It revolves around a Sri Lankan young woman, Yalini (Kalieaswari Srinivasan), who is looking for an orphaned child and a husband toflee with from her war-torn homeland.

《流浪的潘迪》的確不走尋常路。電影的主人公是一名叫雅麗妮(卡利斯瓦力•斯里尼瓦桑飾)的斯里蘭卡女孩，她在尋找一名孤兒和一位丈夫和她一起逃離戰(zhàn)亂紛飛的祖國。

Yalini wants a new life in Europe, but the only shortcut she can think of is to establish a make shift family to gain political asylum. When an opportunity arises, Yalini allies with aTamil soldier, Dheepan (Jesuthasan Antonythasan), and a young girl, Illayaal (ClaudineVinasithamby). Together they embark on new lives as refugees.

雅麗妮想在歐洲開始新的生活，但是她能想到的唯一捷徑就是組建一個臨時家庭，然后取得政治庇護。機會出現(xiàn)了，雅麗妮和泰米爾士兵潘迪(杰蘇薩桑•安東尼薩桑飾)還有小女孩伊萊婭(克勞汀•維納斯桑比飾)結(jié)盟。他們一起以難民身份開始了新生活。

The idea of “family” is usually infused with love, but what this unusual young family representsin the movie is fake love and everyday struggles.

一般而言，“家庭” 的概念包含著愛，但電影里這個非同尋常的年輕家庭展現(xiàn)出的是虛假的愛和日復(fù)一日的掙扎。

There are scenes where Yalini and Dheepan dance awkwardly, their body language clearlyshowing that they have no feelings for each other. There are also heartbreaking moments whenIllayaal longs for the unconditional love that neither of her “parents” know how to provide. “Thereal subject is exploring the idea of a fake family,” Audiard told The Wall Street Journal.

電影中有雅麗妮和桑迪跳舞的笨拙鏡頭，他們的肢體語言暗示兩人之間毫無感情。當(dāng)伊萊婭渴望無條件的愛，而她的“父母”卻根本不知道如何給予時，簡直讓人悲傷心痛。導(dǎo)演歐迪亞告訴《華爾街日報》：“電影真正的主題是探討虛假家庭的概念。”

Dheepan marks the first time that Audiard explicitly tackles the subject of immigration. The process this young family goes through sheds light on the ongoing migrant crisis in Europe.They face immigration hearings, smugglers and poverty, just like many migrants today. “Dheepan is incredibly timely, touching on many of the cultural and political tensions currently in the air,” Slate’s Aisha Harris wrote.

《流浪的潘迪》是歐迪亞第一次明確地觸及移民題材。這個年輕家庭的經(jīng)歷反映了歐洲正在經(jīng)歷的移民危機。電影主人公面臨的移民聽證會、走私販和貧窮正是現(xiàn)在許多移民所經(jīng)歷的。美國知名網(wǎng)絡(luò)雜志slate特約撰稿人艾莎•哈里斯寫道：“《流浪的潘迪》的出現(xiàn)恰逢其時，它觸及了許多當(dāng)前世界正面臨的文化和政治敏感話題。”