奧斯卡最佳外語(yǔ)片獎(jiǎng)參賽熱門盤點(diǎn)

奧斯卡最佳外語(yǔ)片獎(jiǎng)參賽熱門盤點(diǎn)

At first glance, the field for the Academy Award for best foreign-language film looks inscrutable: a record 83 countries and territories submitted entries, including four that are competing for the first time. But the number of real contenders for the Oscar to be awarded on Feb. 22 is actually much smaller, two dozen at most, and therefore somewhat easier to parse.

乍一看，奧斯卡獎(jiǎng)最佳外語(yǔ)片的贏家很難預(yù)測(cè)：共有83個(gè)國(guó)家和地區(qū)提交影片，打破了紀(jì)錄(其中四個(gè)國(guó)家或地區(qū)是首次參賽)。不過真正有實(shí)力角逐2月22日奧斯卡獎(jiǎng)的影片要少得多，最多20多部，所以分析起來(lái)還算容易。

Though there is no clear favorite, in contrast to recent years, the submissions from Europe look both strong and varied, and it doesn’t seem unreasonable to suppose that European films will end up dominating the process. There has been a lot of early buzz about both the Russian candidate, a tense political drama called “Leviathan,” and the Swedish selection, a slyly subversive take on gender roles called “Force Majeure,” and while they may eventually emerge as front-runners, they are not the only submissions that have impressed festival filmgoers or critics.

雖然沒有顯然特別受喜愛的影片，但與近年相比，今年歐洲提交的影片看起來(lái)既強(qiáng)勢(shì)又多樣化，所以有理由認(rèn)為歐洲影片將最終主導(dǎo)競(jìng)賽過程。俄羅斯影片《利維坦》(Leviathan)和瑞典影片《不可抗力》(Force Majeure)很早就引起熱烈討論，前者是一部緊張的政治劇，后者以隱蔽的顛覆視角探討性別角色。雖然它們可能最終成為領(lǐng)跑者，但給電影節(jié)觀眾和評(píng)論家留下深刻印象的還有其他影片。

Take, for example, the Polish candidate, Pawel Pawlikowski’s “Ida,” a post-Holocaust drama about a novice nun who discovers that she is Jewish. Also from Eastern Europe is “White God,” a political allegory with “Animal Farm” overtones, in which dogs rise up against their human masters. And Belgium, something of a power in this category in recent years, has weighed in with the Dardenne brothers’ “Two Days, One Night,” an examination of corporate exploitation starring Marion Cotillard as a factory worker about to be laid off. Italy and France have won more Oscars than any other countries, 14 and 12 respectively, so they must always be taken seriously. Paolo Sorrentino’s “The Great Beauty,” from Italy, won the last Oscar in the category, and this season’s submission is Paolo Virzi’s “Human Capital,” which transports an American novel about greed on Wall Street to the boardrooms of Milan. Meanwhile France, in an odd way, is getting two bites at the apple: besides “Saint Laurent,” Bertrand Bonello’s biopic about the fashion designer Yves Saint Laurent, there is “The Nightingale.” Though nominally China’s entry and spoken in Chinese, the film’s director, Philippe Muyl, is French, and the story line seems a variation on his 2002 film “The Butterfly” in that both are road movies in which the main characters are an old man and a young girl.

比如波蘭影片《修女艾達(dá)》(Ida)。它由帕維爾·帕夫利科夫斯基(Pawel Pawlikowski)執(zhí)導(dǎo)，故事發(fā)生在納粹大屠殺后，一個(gè)新修女發(fā)現(xiàn)自己是猶太人。同樣來(lái)自東歐的還有《白色上帝》(White God)，這部政治寓言片具有《動(dòng)物莊園》(Animal Farm)的色彩，片中的小狗們起義反抗人類主人。比利時(shí)是近些年這一獎(jiǎng)項(xiàng)中崛起的勢(shì)力，本次提交了達(dá)爾代納兄弟(Dardenne brothers)的《兩天一夜》(Two Days, One Night)，該片探討的是公司剝削，瑪麗昂·歌迪亞(Marion Cotillard)飾演一位即將被解雇的工廠工人。意大利和法國(guó)獲得奧斯卡獎(jiǎng)次數(shù)最多，分別是14次和12次，所以需要一直對(duì)它們予以重視。去年保羅· 索倫蒂諾(Paolo Sorrentino)的意大利影片《絕美之城》(The Great Beauty)獲得了奧斯卡最佳外語(yǔ)片獎(jiǎng)，今年意大利提交的是保羅·維爾齊(Paolo Virzi)的《人力資本》(Human Capital)，它把一部關(guān)于華爾街貪婪的美國(guó)小說(shuō)搬到了米蘭的證券交易所。與此同時(shí)，今年法國(guó)奇怪地有了兩部參賽片：除了伯特蘭·博內(nèi)洛 (Bertrand Bonello)關(guān)于時(shí)裝設(shè)計(jì)師伊夫·圣洛朗(Yves Saint Laurent)的傳記片《圣洛朗》(Saint Laurent)，還有《夜鶯》(The Nightingale)。雖然后者名義上是中國(guó)參賽影片，對(duì)白是中文，但導(dǎo)演菲利普·穆勒(Philippe Muyl)是法國(guó)人，故事線索似乎與他2002年的影片《蝴蝶》(The Butterfly)類似，都是公路電影，主人公都是一個(gè)老人和一個(gè)小女孩。

Germany has also submitted a biopic of sorts, “Beloved Sisters,” about an 18th-century love triangle involving the poet and philosopher Friedrich Schiller and the sisters Caroline and Charlotte von Lengefeld. Israel’s “Gett: The Trial of Viviane Amsalem,” directed by the sister and brother team Ronit and Shlomi Elkabetz, deals with domestic entanglements of a different kind: a woman seeking a divorce from her husband finds herself at the mercy of an unsympathetic rabbinical court.

德國(guó)也提交了一部傳記片——《姐妹情深》(Beloved Sisters)，它講述的是18世紀(jì)詩(shī)人、哲學(xué)家弗里德里希·席勒(Friedrich Schiller)與卡洛琳和夏洛特·馮·倫格費(fèi)爾德(Caroline and Charlotte von Lengefeld)姐妹的愛情糾葛。以色列的《離婚審判》(Gett: The Trial of Viviane Amsalem)由羅內(nèi)特和施羅密·艾爾卡貝茲(Ronit and Shlomi Elkabetz)姐弟導(dǎo)演，講述的是另一種家庭糾葛：一個(gè)想與丈夫離婚的女人發(fā)現(xiàn)自己受到猶太教法庭的無(wú)情擺布。

Among the newcomers, the West African desert nation of Mauritania, which submitted Abderrahmane Sissako’s “Timbuktu,” seems to have the best chance of advancing. A drama about what happens to a cosmopolitan and tolerant society when jihadists invade and impose Sharia law, “Timbuktu” won two minor prizes at the Cannes film festival in May, has received strong reviews and certainly addresses a timely topic.

西非沙漠國(guó)家毛里塔尼亞首次參加奧斯卡獎(jiǎng)角逐，提交的是阿卜杜勒拉赫曼·西塞戈(Abderrahmane Sissako)的《通布圖》(Timbuktu)，它似乎極有可能晉級(jí)。這部影片講述的是一個(gè)信奉世界主義的寬容社會(huì)在伊斯蘭圣戰(zhàn)者入侵、強(qiáng)制實(shí)行伊斯蘭教法后發(fā)生的故事。該片今年5月在戛納電影節(jié)上獲得兩個(gè)小獎(jiǎng)，引起熱烈討論。它的主題當(dāng)然很合時(shí)宜。

The field also includes three films about different aspects of gay life. Portugal’s “What Now? Remind Me” seems destined not to advance: it is a two-hour-45-minute documentary in which the director Joaquim Pinto chronicles his own struggles with H.I.V. and his life with his husband. The other two, however, should not be discounted: Switzerland’s “The Circle” looks at Zurich’s gay underground in the 1950s, interspersing documentary footage with scripted scenes, while Brazil’s “The Way He Looks” is a coming-of-age tale about a blind teenager grappling with his attraction to the new boy in class.

這個(gè)類別還包括三部關(guān)于同性戀生活不同側(cè)面的影片。葡萄牙影片《現(xiàn)在怎么辦?告訴我》(What Now? Remind Me)似乎注定無(wú)法晉級(jí)：它是一部時(shí)長(zhǎng)2小時(shí)45分的紀(jì)錄片，導(dǎo)演華金·平托(Joaquim Pinto)記錄了自己與艾滋病病毒的抗?fàn)幰约八c丈夫的生活。不過，另外兩部不應(yīng)該被忽視：瑞士影片《圈子》(The Circle)審視的是20世紀(jì)50年代蘇黎世的地下同性戀，把紀(jì)錄片鏡頭與依劇本拍攝的場(chǎng)景穿插在一起;巴西的《愛，簡(jiǎn)單》(The Way He Looks)講述了一個(gè)成長(zhǎng)故事，一個(gè)懵懂少年努力克制自己對(duì)班上一個(gè)新來(lái)男孩的強(qiáng)烈喜愛。

Venezuela is going to be heavily pushing “The Liberator,” a biopic about Simón Bolivar with Édgar Ramirez in the title role and a score by the renowned conductor Gustavo Dudamel, but the splashiest submission from Latin America comes from Argentina. Damián Szifrón’s “Wild Tales” is an anthology in six parts about violence and revenge; alternating in tone between absurdist comedy and drama, it culminates in an episode about what may be the most disastrous wedding ever.

委內(nèi)瑞拉將大力推介傳記片《解放者》(The Liberator)，它講述的是西蒙·玻利瓦爾(Simón Bolivar)的事跡，由埃德加·拉米雷斯(Édgar Ramirez)主演，著名指揮家古斯塔沃·杜達(dá)美(Gustavo Dudamel)為影片做曲。不過，拉美地區(qū)最耀眼的提交影片來(lái)自阿根廷——達(dá)米安·斯弗隆(Damián Szifrón)的《荒蠻故事》(Wild Tales)是一個(gè)關(guān)于暴力與復(fù)仇的多段式影片，分為六個(gè)部分，基調(diào)在荒誕派喜劇與情節(jié)劇之間轉(zhuǎn)換，高潮是一個(gè)災(zāi)難性的婚禮。

The selection process this Oscar season will be similar to that of years past. A shortlist of nine films, some chosen by vote and others selected by the Academy’s foreign language committee, will be announced around Christmas; of those, five nominees will be announced on Jan. 15.

本屆奧斯卡的選片過程將與過去類似。圣誕節(jié)前后將公布包含九部影片的短名單，其中一些是投票選出的，還有一些是奧斯卡獎(jiǎng)外語(yǔ)片委員會(huì)挑選的。1月15日將公布五部提名影片。

Traditionally, the shortlist contains some surprises. Last year, three films that had been highly touted and were considered shoo-ins were instead left off the list: Chile’s “Gloria,” Saudi Arabia’s “Wadjda” and, most surprising of all, Iran’s “The Past,” directed by Asghar Farhadi, whose previous film, “A Separation,” had won the Oscar in 2012. Instead, longshots from Bosnia and Herzegovina, Cambodia and Hungary advanced.

短名單往往有些出人意料。去年，被大力吹捧、被認(rèn)為穩(wěn)操勝券的三部影片未能入選短名單，它們是智利的《格洛麗亞》(Gloria)、沙特阿拉伯的《瓦嘉達(dá)》(Wadjda)和伊朗的《過往》(The Past)。最后這部最令人意外，它的導(dǎo)演是阿斯哈·法哈迪(Asghar Farhadi)，他的上一部電影《一次別離》(A Separation)獲得了2012年奧斯卡獎(jiǎng)。相反，當(dāng)年來(lái)自波黑、柬埔寨和匈牙利的一些不被看好的電影晉級(jí)了。

One variable that is hard for outsiders involves running time. Several of this year’s submissions are very long by American standards, and it’s hard to gauge how Academy voters feel about that. Argentina, Canada, France, Germany, Iceland, Portugal, Russia and Ukraine are among those offering films that run for two hours or more, and Turkey’s submission, the drama “Winter Sleep,” has a running time of nearly three hours and twenty minutes. (At the other end of the spectrum, Chile’s “To Kill a Man” clocks in at a very taut 82 minutes.)

局外人很難把握的一個(gè)因素是片長(zhǎng)。以美國(guó)標(biāo)準(zhǔn)看，今年提交的其中幾部影片特別長(zhǎng)，很難估量奧斯卡投票人們對(duì)此感覺如何。阿根廷、加拿大、法國(guó)、德國(guó)、冰島、葡萄牙、俄羅斯和烏克蘭提交的影片時(shí)長(zhǎng)都在兩小時(shí)以上。土耳其影片《冬眠》(Winter Sleep)片長(zhǎng)將近3小時(shí)20分(而智利的《殺人》[To Kill a Man]只有緊湊的82分鐘)。