卫报：如果只看1部最伟大的导演的最伟大的1部电影，你选哪一个？
整理翻译：兰桂姬语言文化，好好学习，天天向上
Mike Leigh迈克·利Nuts in May, 1976 五月的坚果
The comedy is flawlessly sharp, the easy laughs of drenched cagoules whittled to a point by the eye for detail. If the couple’s organic piety feels ahead of its time, a lot of the laughs echoed into the future. It was only a short step from Keith’s eventual meltdown to Alan Partridge assaulting a BBC exec with a wheel of blue cheese. But something darker ticks away too, Leigh’s world filled with the thwarted and put-upon. And here, damp campsites become a battleground of tribal identities, the kind of civil war we have all been living in lately. The best of Mike Leigh always peers into places no one else has thought to look. In Nuts in May, that place is England, the small patch of scenery where none of us can stand one other. Danny Leigh
这部喜剧完美无瑕，湿透的cagoules轻松地笑容细看上去就像被缩成了一个点。 如果这对夫妇的有机虔诚感超前，那么很多笑声都会在未来回荡。 从基思最终崩溃到艾伦·帕特里奇（Alan Partridge）用一盘蓝奶酪袭击一位 BBC 高管，都只是一小步。 但也有一些更黑暗的东西在滴答作响，Leigh 的世界充满了挫败和装模作样。 在这里，潮湿的露营地成为部落身份的战场，这是我们最近都生活在的那种内战。 最好的迈克·利总是凝视别人没有想到的地方。 在《五月的坚果》中，那个地方就是英格兰，那是我们谁都无法忍受的一小片风景。 丹尼·利
Agnès Varda阿涅斯·瓦尔达Vagabond, 1985 流浪汉
Varda’s classic Vagabond, or Sans Toit Ni Loi (No Shelter No Law), is a film with the authentic spirit of the French New Wave: complex, questioning, demanding, passionate. Sandrine Bonnaire plays Mona, a young homeless woman whom we see dead in a freezing ditch in the film’s opening and whose life is opened up through a series of flashback episodes and interviews with the people who encountered her on the road. It is a testimony narrative that bears comparison to Welles’s Citizen Kane. Mona rejects her life as a wage-slave secretary and takes off with her tent on her back, sleeping in fields or on roadsides, getting cash-in-hand jobs where she can – and facing brutal misogyny and assault. She is mutinous, uncaring, inscrutable. As she says: “Je m’en fous – je bouge” (“I don’t care – I just move on”). Wherever she goes, Mona spreads unease. Some people are sympathetic; some even admire and envy her freedom and defiance. Some are resentful of her lack of gratitude when they help her. Mona is a parodic version of the workings of divine grace; a mysterious force in the lives of those she crosses.
Varda 的经典“流浪汉”或 Sans Toit Ni Loi（No Shelter No Law）是一部具有法国新浪潮的真实精神的电影：复杂、质疑、要求、热情。桑德琳·博内尔（Sandrine Bonnaire）饰演蒙娜（Mona），一个年轻的无家可归的女人，我们在电影开场看到她死在冰冷的沟里，通过一系列闪回情节和对在路上遇到她的人的采访，她的生活被打开了。这是一个与威尔斯的《公民凯恩》相媲美的见证叙事。莫娜拒绝了她作为工资奴隶秘书的生活，她背着帐篷起飞，睡在田野或路边，尽可能地获得手头现金的工作——并面临残酷的厌女症和攻击。她是叛逆的，冷漠的，高深莫测的。正如她所说：“我不在乎——我只是继续前进”。无论走到哪里，莫娜都会感到不安。有些人是有同情心的；有些人甚至钦佩和羡慕她的自由和反抗。有些人在帮助她时对她缺乏感激之情感到不满。 Mona 是对神圣恩典运作的戏仿版本，对于遇到她的来说，她是一种神秘力量。
Spike Lee斯派克·李Do the Right Thing, 1989 做正确的事
Spike Lee’s classic is not so much prophetic as enduringly, tactlessly relevant – beginning with a warning about climate change and ending with a Black man killed in a police chokehold. It is an unbearably hot day in the Bed-Stuy area of Brooklyn, New York – then in the first stages of gentrification（富人搬进穷人郊区逐渐取代当地人的一种趋势） – and racial tension is rising on the streets. “If this hot weather continues, it’s going to melt the polar ice caps and the whole wide world,” says someone outside Sal’s Famous Pizzeria, which employs Mookie (played by Lee himself) as a delivery guy
.斯派克·李的经典作品与其说是预言性的，倒不如说是经久不衰的、巧妙地具有普适性的——从对气候变化的警告，到一名黑人在警察的锁喉中丧生。在纽约布鲁克林的 Bed-Stuy 地区，这是一个难以忍受的炎热日子——当时正处于社区“高级化”的第一阶段——街头的种族紧张局势正在加剧。 “如果这种炎热的天气持续下去，极地冰盖和整个世界都会融化，”Sal's Famous Pizzeria 外面的人说，这家店雇佣了 Mookie（李本人饰）作为送货员
Jane Campion简·坎皮恩The Piano, 1993 钢琴
The purest place to start with New Zealand film-maker Campion is with her third film, The Piano. A period drama set in the 1850s, it stars Holly Hunter as Ada, a mute pianist who travels from Scotland to New Zealand to fulfil an arranged marriage to Alisdair Stewart (Sam Neill).新西兰电影制作人坎皮恩最纯粹的起点是她的第三部电影《钢琴》。 一部以 1850 年代为背景的时代剧，由霍莉·亨特（Holly Hunter）饰演一位哑巴钢琴家艾达（Ada），她从苏格兰前往新西兰，完成与阿利斯代尔·斯图尔特（山姆·尼尔饰）包办婚姻。
Steve McQueen史蒂夫·麦昆Lovers Rock (part of the Small Axe anthology), 2020 摇滚恋人（小斧头选集的部分）
Steve McQueen is obsessed with the human body. He lingers on Bobby Sands’s wasting frame in Hunger, prison cell smeared with human faeces; on sex addict Brandon, full frontal in Shame; on the graphic humiliations suffered by cotton picker Patsey in 12 Years a Slave. In Lovers Rock, the second instalment of his Small Axe anthology, a series of stories that centre on London’s West Indian community, bodies are important, too. The film takes place in Ladbroke Grove in 1980, during a house party, and builds to a transcendent 10-minute set piece soundtracked by Janet Kay’s Silly Games. It is hardly his most conventional film – plot-wise, almost nothing happens – but start here anyway, working backwards through his filmography to properly appreciate his range.
史蒂夫麦昆痴迷于人体。 在《饥饿》中，他徘徊在鲍比·桑兹消瘦的身躯上，牢房里到处都是人类的粪便； 关于性瘾者布兰登，羞耻的正面； 在《为奴十二年》中棉花采摘者帕西遭受的图形羞辱。 在 Lovers Rock 中，他的小斧头选集的第二部分，一系列以伦敦西印度社区为中心的故事，身体也很重要。 这部电影发生在 1980 年在 Ladbroke Grove 的一次家庭聚会中，并以珍妮特·凯 (Janet Kay) 配乐的超凡 10 分钟布景为基础。 这几乎不是他最传统的电影——充满智慧的情节，但这部电影里几乎都没有——但无论如何，通过他的这部电影依旧可以很好地欣赏到他的作品深度。
Hayao Miyazaki宫崎骏Kiki’s Delivery Service, 1989 琪琪的外卖服务
Kiki’s newfound independence is its own magical adventure but the stakes are low-key. Her biggest challenge is to ensure she doesn’t burn out. Exhausted from overpromising herself, her confidence and her powers begin to fade. The women in her life encourage her to spend time in nature, to paint, to rest and to heal. People pleasers will identify, and be comforted as Miyazaki privileges a child’s point of view with the utmost empathy and seriousness. 琪琪的独立是它自己的神奇冒险，但赌注是一定要低调。她最大的挑战是确保她不会精疲力尽。由于过度承诺，自己搞得筋疲力尽，她的信心和力量开始消退。她生命中的女人鼓励她和自然多相处，画画，休息和治愈。当宫崎骏以最大的同理心和严肃态度尊重孩子的观点时，那些喜欢取悦别人的人往往会感到共鸣和安慰。
Michael Bay 迈克尔贝Armageddon, 1998 世界末日
Michael Bay’s cinema is the cinema of the vulgar, and that’s what makes him so compulsively watchable. We all need a little vulgarity in our lives now and then; to strive ceaselessly after good taste is, after all, a thoroughly tasteless endeavour. Armageddon is the naffest, funniest and most delicious of the hollow but addictive treats that comprise the Bayhem canon.迈克尔·贝的电影是庸俗的电影，这就是他如此令人着迷的原因。我们都需要在生活中时不时地有点庸俗；不断地追求好品味，毕竟是一种索然无味的努力。世界末日是封装了迈克尔式的经典空洞主义电影，但确实是最有趣、最美味的令人上瘾的零食。
Pedro Almodóvar佩德罗·阿莫多瓦Bad Education, 2004 坏教育
The Spanish director’s modus operandi is to bring telenovela plots to life through vivacious image-making that owes as much to Fauvism as anything in cinema.这位西班牙导演的“作案手法”是通过生动的图像制作将电视剧情节带入生活，和其他任何电影一样，他的电影中也有野兽派风格。
Claire Denis克莱尔丹尼斯Trouble Every Day, 2001 麻烦的每一天
Trouble Every Day isn’t necessarily a typical Claire Denis, but it’s a great place to start. Set mainly in Paris, the minimalist plot unfurls slowly, though we understand from the off that horrific, compulsive violence is the engine throbbing beneath the hood.这部电影不一定是典型的克莱尔丹尼斯风格的电影，但它是一个很好的了解导演的开始。 电影主要设置在巴黎，极简主义情节缓慢展开，尽管我们从一开始就明白，可怕的、强迫性的暴力是盖下跳动的引擎。
Kathryn Bigelow凯瑟琳·毕格罗Point Break, 1991 突破点
The film was slick Hollywood entertainment and still clearly the vision of a woman sprung from the downtown Manhattan art scene. So with Point Break, you get a popcorn movie as silly as the premise implies, made more so by the yin-yang double act of Patrick Swayze and Keanu Reeves. You also get weirdly chewy ideas about the road from adrenaline to Zen, a needy hero and spiritually enlightened bad guy. And the glue for these inner tensions were God-level action scenes: another Bigelow trademark, her female gaze focused on a mayhem of male bodies.
这部电影是一部狡猾的好莱坞娱乐片，仍然清晰地描绘了曼哈顿市中心艺术界的女性形象。 因此，通过 Point Break，你会得到一部像前提暗示的那样愚蠢的爆米花电影，帕特里克·斯威兹和基努·里维斯的阴阳双重表演更是如此。 你也会对从肾上腺素到Zen的道路这一转变产生想要细品的想法，zen是一个需要帮助的英雄和精神上觉醒的坏人。 而这些内在张力的粘合剂是上帝级别的动作场景：另一个毕格罗的标志是：她观察视角主要集中在男性身体间的混乱上。
Martin Scorsese马丁斯科塞斯Goodfellas , 1990 好朋友
The richness, delicious dark humour, jukebox slams and rocket-fuelled storytelling of Goodfellas make it one of Scorsese’s classics. It hooks you from the very first, with Ray Liotta’s gravelly voiceover: “As far back as I can remember, I always wanted to be a gangster …”
饱满的情节、美味的黑色幽默、点唱机式的大满贯和火箭般推进的故事使Goodfellas成为斯科塞斯的经典作品之一。 它从一开始就吸引了你，伴随着雷·利奥塔（Ray Liotta）沙哑的画外音：“从我记事起，我就一直想成为一名黑帮……”
Andrei Tarkovsky安德烈·塔可夫斯基Stalker, 1979 潜行者
By now, the forbidding aura that once surrounded Andrei Tarkovsky’s Stalker has all but dissolved. The backstory to the Soviet director’s post-industrial sci-fi is oft retold these days: how a first version was shot on film ruined back in Moscow, demanding it be started again from scratch; the locations downriver of a chemical plant said to have caused Tarkovsky’s death.至此，曾经围绕在安德烈·塔可夫斯基的《潜行者》的那种神秘的气息几乎已经消散。 如今，这部苏联导演的后工业科幻片的背景故事经常被重述：比如第一个版本是如何在莫斯科被毁之后又重新拍摄的，这需要从头开始说起-据说导致塔可夫斯基死亡的和下游的一家化工厂有关...
参考：If you watch only one film … the greatest movies by the greatest directors | Film | The Guardian
,
