7

生命之樹

The Tree of Life (2011)

導演：泰倫斯·馬力克（Terrence Malick）

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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.
這是一部充滿詩意的電影。從1950年代的少年時光到宇宙的起源，導演泰倫斯·馬力克帶領觀眾的心靈在時空中優(yōu)雅地穿梭跳躍。

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.
這部電影怪誕卻無疑是挺立在美國電影殿堂中的新支柱。布拉德·皮特出演了一位父權(quán)至上，擁有三個孩子的父親，杰西卡·查斯坦飾演了溫柔但一絲不茍遵循宗教信條的母親。

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.
在艾曼努爾·盧貝茲基鏡頭下的電影語言被日光照耀的斑駁陸離，充斥著滾滾巖漿、恐龍和爆炸的星體，與澤貝紐·普瑞斯納的安魂曲完美結(jié)合，那是為死去的孩子演奏的安魂曲。在馬力克的劇本中，這對父母親的愉悅與悲傷被無限放大，甚至有些《圣經(jīng)》的風格。

– Kate Muir, The Times, UK

8

一 一

Yi Yi: A One and a Two (2000)

導演：楊德昌

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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年的觀眾都為《一一》所震撼——楊德昌如何能將一個臺北家庭中各個成員的不同故事混疊在一起敘述，卻極其自然流暢地刻畫出了當代生活。故事里，一家人因陷入不同生命階段的特殊困境而互相隔絕。

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》是一部用心至極的精致電影，頗費心思地細膩抒情，當中涉及的儀式場景帶有地方性特色，貼合人物生活環(huán)境的習俗。但同時，這部電影卻又具有普遍性意義。不論觀者與電影中的人事隔著怎樣的年代與文化差異，它那極安靜的、對于生命、家庭與死亡的映射都是那樣美而有感染力。

– Oggs Cruz, Rappler, Philippines

9

一次別離

A Separation (2011)

導演：阿斯哈·法哈蒂（Asghar Farhadi）

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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.
如果說有哪部電影能讓你在看完后對著鏡子陷入深深思考，那毫無疑問就是它了。阿斯哈·法哈蒂強烈的戲劇沖突沒有對任何角色進行完全的褒貶。他將電影中的場景刻畫得自然真實，到頭來還讓觀眾為了相互折磨的主人公們胸口發(fā)悶。

– Utpal Borpujari, Freelance, India