美國時(shí)間1月22日坠七，奧斯卡將的相關(guān)提名將會公布拄踪。去年惶桐，官方在面對為何奧斯卡最佳導(dǎo)演提名缺失女性的質(zhì)疑時(shí)姚糊，用“她們拍的電影很好救恨，但不足以達(dá)到得獎(jiǎng)的行列”這種蹩腳的借口回復(fù)肠槽。然而秸仙，以下七位女導(dǎo)演帶著她們優(yōu)秀的作品回歸寂纪，用實(shí)力回應(yīng)質(zhì)疑抢腐。
（原文來自：Indiewire迈倍，原作者：katerbland啼染，意譯：月迹鹅，排版：思）
01.
《不留痕跡》（導(dǎo)演黛布拉格蘭尼克）
“Leave No Trace,” directed by Debra Granik
在電影工業(yè)體系內(nèi)工作了將近30年斜棚，格蘭尼克僅制作完成了三部故事長片弟蚀。但每一部都通過造星般的明星表演（從藍(lán)色骨頭的大表姐詹妮弗勞倫斯到不留痕跡中的托馬斯麥肯基）和對人類悲歡行為的關(guān)注而鞏固了她電影的獨(dú)特氣質(zhì)义钉。
去年一月格蘭尼克根據(jù)皮特羅克的小說“我的放棄”改編的電影“不留痕跡”在圣丹斯電影節(jié)上映后立刻贏得(評委的)喜愛。電影講述了一個(gè)激動人心的故事：一位患有創(chuàng)傷后應(yīng)激癥的父親（本福斯特）和他樂觀的女兒遠(yuǎn)離人群删壮，但他們卻因?yàn)橐粋€(gè)微小的錯(cuò)誤打破了本就岌岌可危的生活醉锅。
布里克街在去年6月份上映了這部影片，雖然影片只收獲了800萬美元的票房边酒，但它卻贏得了來自評論界的諸多青睞：上映7個(gè)月后墩朦，在爛番茄上的新鮮度依舊維持在100%牛哺。格蘭尼克不僅是三位角逐獨(dú)立精神獎(jiǎng)最佳導(dǎo)演的女性導(dǎo)演之一引润，同時(shí)這部電影也獲得了最佳影片提名。其它投票機(jī)構(gòu)奴曙，如洛杉磯影評人協(xié)會和圣地亞哥影評人協(xié)會都認(rèn)為這部電影是最佳影片草讶，并選格蘭尼克為最佳導(dǎo)演洽糟。
Over the course of three decades in the industry, Granik has only made three narrative features, but each has been a unique gem bolstered by star-making performances (from Jennifer Lawrence in “Winter’s Bone” to Thomasin McKenzie in “Leave No Trace”) and an eye for depicting human behavior in all its joys and pains. Based on the novel “My Abandonment” by Peter Rock, Granik’s 2018 effort debuted at Sundance last January and won instant affection for its stirring (and honest) tale about a PTSD-stricken father (Ben Foster) and his hopeful daughter (McKenzie) who live off the grid and find their fragile lives disrupted by a seemingly minor mistake.
Bleecker Street released the film in June, and though it made less than $8 million at the domestic box office, it made off with plenty of critical hearts: seven months after its release, it still holds a 100% Fresh on Rotten Tomatoes. Granik is one of the three female directors in the running for this year’s Indie Spirit award for Best Director, where the film is also nominated for Best Feature. Other voting bodies have championed the film, too, including the Los Angeles Film Critics Association and the San Diego Film Critics Society, which both picked Granik as their Best Director.
02.
《私人生活》（導(dǎo)演塔瑪拉詹金斯）
“Private Life,” directed by Tamara Jenkins
距離導(dǎo)演塔瑪拉詹金斯憑借“薩維奇一家”獲得奧斯卡最佳劇本獎(jiǎng)已經(jīng)過去了十二年。如今堕战，詹金斯帶著她的另外一部作品《私人生活》重回大銀幕坤溃。（值得一提的是，今年她也參與了另外一部被忽視的珍寶《赤裸朱麗葉》的編劇工作）在#私人生活#這部電影中践啄，凱瑟琳哈恩和保羅吉亞瑪提在片中飾演一對努力懷孕的夫婦（這部電影基于詹金斯本人的經(jīng)歷改編）就像我們上次提到格蘭尼克的#電影不留痕跡#一樣浇雹，本片在圣丹斯電影節(jié)首映后，就贏得了評委團(tuán)的追捧屿讽。同時(shí)昭灵，當(dāng)它在影院和媒體平臺播放時(shí)，也收獲了很多積極的評論。至今這部影片仍在爛番茄網(wǎng)站上保持著94%的新鮮度。導(dǎo)演詹金斯也同時(shí)獲得了獨(dú)立精神獎(jiǎng)的最佳導(dǎo)演和最佳編劇雙料提名，也為哈恩和獨(dú)立精神獎(jiǎng)的提名者凱莉卡特贏得了榮譽(yù)现横！
Over a decade after earning an Oscar nod for Best Original Screenplay for her “The Savages” (she lost out to another female nominee, with Diablo Cody picking up the statuette for her “Juno”), Jenkins returned to the big screen with another Sundance premiere (not to mention she also co-wrote “Juliet, Naked” this year, another overlooked rom-com gem). Featuring Kathryn Hahn and Paul Giamatti as a couple struggling to conceive — and loosely based on Jenkins’ own experiences — the Netflix film was a funny, flinty, disarmingly honest return for the filmmaker.
Like Granik’s film, it was a hit out of Sundance, and when it was ultimately released in theaters and on Netflix’s streaming platform, critical consensus was overwhelmingly positive: it still holds a 94% Fresh on Rotten Tomatoes. Jenkins has been nominated for both Best Director and Best Screenplay at this year’s Indie Spirits, and the feature has earned accolades for both Hahn and Indie Spirit nominee Kayli Carter.
03.
《你從未在此》（導(dǎo)演林恩拉姆塞）
“You Were Never Really Here,” directed by Lynne Ramsay
一切等待都是值得的栋操，在2017年戛納電影節(jié)上剔宪，杰昆杰尼克斯和林恩拉姆塞分別獲得了最佳男演員獎(jiǎng)和最佳劇本獎(jiǎng)斗锭。隨后這位蘇格蘭電影人#Lynne Ramsay#就拍攝了喬納森埃梅斯的同名短篇小說《你從未在此》烈疚，在這部劇情沉重陆错，視覺上卻令人眼花繚亂的影片中，菲尼克斯扮演一位被雇傭的警員偷线，負(fù)責(zé)尋找被拐賣的女孩。而導(dǎo)演拉姆塞則充分發(fā)揮了自己把暴力和情感交織在一起的才能媳瞪，在這部電影中的個(gè)人風(fēng)格達(dá)到了頂峰乍丈。
在約翰尼格林伍德強(qiáng)勁的配樂和菲尼克斯豐滿表演的支持下，#電影《你從未在此》#與導(dǎo)演此前的電影《默文卡拉》與#卡文怎么了#的氣質(zhì)一脈相承叼屠，但同時(shí)新電影“你從未在此”也展示了拉姆塞在鏡頭背后的成長。這部電影至今在#爛番茄#上保持著89%的新鮮度，并在去年年底獲得英國獨(dú)立電影獎(jiǎng)八項(xiàng)提名（贏了兩項(xiàng)）。不久，拉塞姆將會和導(dǎo)演格蘭尼克和詹金斯在獨(dú)立精神獎(jiǎng)中角逐最佳導(dǎo)演雳旅，同時(shí)這部電影也獲得了最佳故事片沦童、最佳男演員和最佳剪輯三項(xiàng)大獎(jiǎng)的提名~
It was worth the wait: after winning both Best Actor for Joaquin Phoenix and Best Screenplay for Ramsay at the 2017 Cannes Film Festival, the Scottish filmmaker’s take on the Jonathan Ames novella of the same name, finally hit American theaters in March of this year. The woozy, hard-hitting drama sees Phoenix as vigilante for hire who is often tasked with finding trafficked girls, and Ramsay’s unshakable ability to weave together violence and emotion come to a head throughout the demanding feature.
Bolstered by a propulsive Jonny Greenwood score and full-bodied performance by Phoenix, “You Were Never Really Here” is a natural fit for the “Morvern Callar” and “We Need to Talk About Kevin” filmmaker, but it also shows off her incredible continued growth behind the camera. It’s got an 89% on Rotten Tomatoes, and it was nominated for eight BIFAs late last year (it won two). Ramsay will compete against both Granik and Jenkins for Best Director at the Indie Spirits, where the film is also nominated for Best Feature, Best Male Lead, and Best Editing.
04.
《你能原諒我嗎？》（導(dǎo)演瑪麗埃兒海勒）
“Can You Ever Forgive Me?,” directed by Marielle Heller
這兩年的等待沒有白費(fèi)：三年前導(dǎo)演海勒帶來了震驚影視圈的電影“少女日記”。如今她帶著另一部新電影“你能原諒我嗎”重回?zé)赡唬ㄅc另外一位女性電影制作者尼克哈羅芬瑟共同撰寫）。
電影以作家李藝瑟利兒真實(shí)又瘋狂的生活為藍(lán)本編寫苫拍。在2018年缚チ睿克斯探照燈影業(yè)發(fā)行前榔袋，在特柳賴德首映。
雖然在國內(nèi)僅收獲800萬美元票房喉镰，但在爛番茄上卻贏得了98%的新鮮度。主演梅麗莎麥卡西和理查德格蘭特也相繼在各大獎(jiǎng)項(xiàng)中被提及（除了奧斯卡獎(jiǎng)的提名外）伶椿。但各大獎(jiǎng)項(xiàng)為何獨(dú)獨(dú)缺少了對導(dǎo)演海勒的“愛”呢悬垃？
即使是最近獲得紐約影評人協(xié)會最佳男配角獎(jiǎng)的格蘭特也看不懂各大電影節(jié)這頓騷操作，并在公開發(fā)言中為導(dǎo)演海勒的才華證明“雖然在此之前甘苍，她只拍了一部電影尝蠕，但毫無疑問她是一位非常有才華的年輕導(dǎo)演。她雖在電影節(jié)上獲得了各項(xiàng)榮譽(yù)载庭，但幾乎沒獲得任何獎(jiǎng)項(xiàng)提名看彼。這是在令人驚訝廊佩。如果沒有她，怎么會有我和梅麗莎麥卡西合作出演的影片呢靖榕？”
It was worth the wait, take two: three years after breaking out with her indelible “The Diary of a Teenage Girl,” Heller returned to the big screen with the utterly charming true story “Can You Ever Forgive Me?” (co-written by fellow female filmmaker Nicole Holofcener, no less). The dramedy, based on the insane real-life exploits of author and forger Lee Israel, debuted at Telluride before its October release from Fox Searchlight.
The film earned a sterling 98% on Rotten Tomatoes, and while it only earned $8 million at the domestic box office, a massive list of continued accolades for stars Melissa McCarthy and Richard E. Grant (who both seem like a lock for Oscar nods) have kept it in the conversation. But why the lack of love for Heller’s assured, amusing direction?
Even Grant, who recently picked up the New York Film Critics Circle’s award for Best Supporting Actor, doesn’t get it, using part of his acceptance speech to tout her talent. “She’s an extraordinary young female director, who directed only one movie before,” Grant said. “Despite … all the accolades at festivals, she has managed not to get a Best Director nomination in almost everything, which is astonishing. Had she not directed Melissa McCarthy and I, [there’d be no movie].” Can’t argue with that!
05.
《 騎士》（導(dǎo)演趙婷）
“The Rider,” directed by Chloe Zhao
多虧索尼經(jīng)典影業(yè)标锄，趙婷繼《哥哥教我唱的歌》后又推出另一部別出心裁的力作《騎士》∽录疲《騎士》在戛納電影節(jié)導(dǎo)演雙周單元首映后料皇，獲得了藝術(shù)電影大獎(jiǎng)⌒茄梗《騎士》沿襲了趙婷上部作品《哥哥教我唱的歌》中的一系列特質(zhì)：現(xiàn)實(shí)和虛構(gòu)融合践剂、素人演員出演，角色貼合演員本人的生活娜膘。其實(shí)逊脯，趙婷在創(chuàng)造《哥哥教我唱的歌》時(shí)發(fā)現(xiàn)了“騎士”布雷迪安德魯?shù)墓适拢⒏鶕?jù)他在創(chuàng)傷后試圖重返競技圈的經(jīng)歷創(chuàng)作了劇本竣贪。
即使是同樣的本子由不同的導(dǎo)演來拍军洼，最終的呈現(xiàn)結(jié)果都會不一樣。但對于電影《騎士》來講卻不是這樣演怎，如果沒有趙婷強(qiáng)有力的個(gè)人導(dǎo)演特質(zhì)匕争，這部電影將不會存在〔梗《騎士》在小范圍內(nèi)汗捡，贏得了眾多好評，Gothams和國家影評人協(xié)會把最佳影片大獎(jiǎng)?lì)C發(fā)給了它畏纲。同時(shí)扇住，這部電影在去年的獨(dú)立精神大獎(jiǎng)中獲得了四項(xiàng)提名，包括最佳故事片和最佳導(dǎo)演獎(jiǎng)（趙婷是唯一一位獲此殊榮的女性）盗胀。目前它在爛番茄網(wǎng)站上保持著97%的新鮮度艘蹋。
After premiering in the Directors’ Fortnight section for the 2017 Cannes Film Festival — where it won the Art Cinema Awards — Zhao’s followup to her similarly inventive and personal “Songs My Brothers Taught Me” finally got a stateside release in April, thanks to Sony Pictures Classics. Like her 2015 breakout “Songs,” Zhao’s film blends fact and fiction by casting mostly non-actors in roles loosely based on their own lives. Zhao discovered her eventual “Rider” story Brady Jandreau when she was making “Songs,” ultimately building her drama around Jandreau’s own experiences trying to make his way back to the rodeo circuit after a traumatic accident.
No film would be the same in the hands of any other creator, but “The Rider” is a film that would literally not exist without Zhao’s dedication to the story, modern auteurism with a big, beating heart. The film continues to pick up accolades from smaller voting bodies, including those big Best Picture wins from both the Gothams and the National Society of Film Critics. The film was eligible for last year’s Indie Spirits, where it was nominated for four awards, including Best Feature and Best Director (Zhao was the only woman to be nominated in that category). It holds a 97% rating on Rotten Tomatoes.
06.
《無間煉獄》（導(dǎo)演卡瑞恩庫薩馬）
“Destroyer,” directed by Karyn Kusama
縱觀卡薩馬在好萊塢的發(fā)展軌跡，可以看出票灰，她確實(shí)創(chuàng)造出了一些偉大的作品女阀，但同時(shí)也揭露了一個(gè)殘酷的現(xiàn)實(shí)：從令她一鳴驚人的“女生出拳”到命運(yùn)多舛的“魔力女戰(zhàn)士”，再到被低估的“詹妮弗的肉體“屑迂，庫薩馬在視覺呈現(xiàn)上從未妥協(xié)過浸策。
在妮可基德曼擔(dān)當(dāng)主演，挑戰(zhàn)偵探一角的黑色電影《無間地獄》中惹盼，庫薩馬把故事的這個(gè)暗黑和深沉的影片背景設(shè)置在陽光明媚的南加州庸汗。助演塞巴斯蒂安·斯坦、布萊德利·惠特福德和塔蒂亞娜·馬斯蘭尼的出色表演為影片平添了幾分精彩手报。編劇菲爾·海和馬特·曼弗雷迪的加盟蚯舱，確保了劇本的深度改化。
但這一切都要?dú)w功于導(dǎo)演卡薩馬對影片整體風(fēng)格的把控。不論是由妮可基德曼飾演的主角在臥底時(shí)的戲劇性時(shí)刻枉昏、硬核的追捕鏡頭還是兩起銀行搶劫案都能讓人緊張到手心冒汗陈肛。
Kusama’s fascinating path through Hollywood has bred some great films and some hard truths: from her breakout “Girlfight” to the ill-fated “Aeon Flux” and woefully underappreciated “Jennifer’s Body,” Kusama has never compromised her vision. After a six-year break post-“Body,” the filmmaker reemerged with 2015’s scary smart “The Invitation,” and she continues along similarly dark paths with “Destroyer.”
Anchored by a transformative dual performance by Nicole Kidman, Kusama’s “Destroyer” is a dark, deep, meditative take on film noir told against the backdrop of sunny Southern California. Solid supporting performances from Sebastian Stan, Bradley Whitford, and Tatiana Maslany set it a cut above, and the fascinatingly cyclical screenplay from Phil Hay and Matt Manfredi (who also wrote “The Invitation”) ensure that nothing is surface level. But it’s Kusama’s assured direction that holds it steady, from wrenching dramatic scenes involving Kidman’s ruined detective Erin Bell to hard-pounding chase scenes and a pair of bank robberies that will make your palms sweat.
07.
《幸福的拉扎羅》（導(dǎo)演阿莉切羅爾瓦赫爾）
“Happy as Lazzaro,” directed by Alice Rohrwacher
阿莉切羅爾瓦赫爾的第三部長片有多好呢？好到馬丁斯科塞斯一看到就愛上了它兄裂，然后做了這部電影的監(jiān)制句旱。電影去年五月在戛納電影節(jié)首映，導(dǎo)演羅爾瓦赫爾贏走了最佳編劇獎(jiǎng)晰奖。這部電影在電影節(jié)上一路高歌猛進(jìn)前翎，隨后在蘇黎世、紐約畅涂、芝加哥、倫敦和墨爾本等地上映道川，最終在11月份登陸Netflix午衰。
這部影片講述了一個(gè)如夢似幻，跨越時(shí)間的童話故事（毫無疑問冒萄，觀眾也足夠聰明臊岸，可以理解這個(gè)故事）電影主人公以拉扎羅的名字明明，講他從一個(gè)貧窮的農(nóng)場穿越時(shí)間來到了另外一個(gè)地方尊流。這是今年最有創(chuàng)意的長片之一帅戒，但正像導(dǎo)演阿莉切此前的長片一樣（包括廣受贊譽(yù)的“奇跡”），這次的風(fēng)格依舊是真實(shí)且個(gè)人化崖技。目前這部電影在爛番茄上保持著90%的新鮮度逻住，并且已經(jīng)獲得了今年獨(dú)立電影節(jié)最佳外語片，同時(shí)也被美國國家評論委員會提名為年度最佳的外語片之一迎献！
How good is Alice Rohrwacher’s third film? Good enough that Martin Scorsese saw it, loved it, and then signed on as an executive producer. The film premiered at last May’s Cannes Film Festival, where Rohrwacher picked up the award for Best Screenplay. The film hit the festival road hard, screening at Zurich, New York, Chicago, London, Melbourne, and more, finally hitting Netflix in November.
A dreamy, fairy tale-like feature that spans time periods with ease (and without doubting that its audience is smart enough to keep up), the film follows the eponymous Lazzaro as he moves from impoverished farmhand to, well, something else. It’s one of the most creative narratives of the year, but like Rohrwacher’s other films (including the appropriately wonderful “The Wonders”), it feels deeply personal and true. The film holds a 90% on Rotten Tomatoes and has been nominated for Best International Film at this year’s Indie Sprits, and was already name one of the year’s best Foreign-Language Films from the National Board of Review.
fin
這里有嚴(yán)肅劇評～多面影評～反面書評～腦洞小故事～搞笑新聞～
? 還有一個(gè)不合時(shí)宜的人～你來吧
