BBC文化頻道最近邀請全球177位影評人投票選出了21世紀最偉大的100部電影，大衛(wèi)·林奇2001年的超現(xiàn)實名作《穆赫蘭道》名列榜首，王家衛(wèi)的《花樣年華》位列第二。

除了《花樣年華》，還有三部華語片上榜：楊德昌的《一一》【8】、李安的《臥虎藏龍》【35】以及侯孝賢的《刺客聶隱娘》【50】。

上榜作品最多的導演包括：維斯·安德森、阿彼察邦·韋拉斯哈古、克里斯托弗·諾蘭、邁克爾·哈內(nèi)克、保羅·托馬斯·安德森和科恩兄弟，這幾位導演均有三部影片上榜。

以下是榜單前25名，附BBC摘選的點評。

1

穆赫蘭道

Mulholland Drive (2001)

導演：大衛(wèi)·林奇（David Lynch）

在線觀看地址

（友情提示：全程高能，要看的同學保護好小心臟）

Lynch’s film is so gorgeous and so painful, so mysterious and, in many ways, so recognisable that, whatever theory you ascribe to it, the picture does indeed reflect a reality that moves beyond southern California and parks itself in our brains, tapping into our dreams, deepest fears, inscrutable natures, and erotic desires.
林奇的這部電影華美之極又痛苦之極，神秘詭譎又莫名熟悉，無論你套以何種解釋，那些畫面都能超越南加州，反觀現(xiàn)實，并駐留在我們的腦海里，鉆進我們的睡夢之中、恐懼深處，潛入我們無法名狀的性情和肉欲中。

– Kim Morgan, Sunset Gun, US

2

花樣年華

In the Mood for Love (2000)

導演：王家衛(wèi)

在線觀看地址

Wong Kar-wai is one of world cinema’s most notorious perfectionists, but he earned every moment of editing-room indecision with In the Mood for Love, the rare movie that draws much of its melancholy power from what it leaves off-screen.
王家衛(wèi)是世界影壇最臭名昭著的完美主義者，不過他耗在剪輯室里的每一個無法決斷的瞬間，在《花樣年華》中都值了。這是一部罕見的用留白來積蓄憂郁力量的電影。

We never see the faces of the spouses whose affair pulls two lonely neighbours into their delirious romantic spiral. We never see the sex scene that Wong shot but omitted, all the better to heighten the erotic charge of every swaying hip and every voluptuous swirl of the camera.
我們從未見到那兩個出軌的配偶，正是他們的婚外情把兩個孤獨的鄰居卷入一場意亂情迷的浪漫旋渦。我們也從未看到王家衛(wèi)拍了又剪掉的床戲，這讓每一次腰肢的搖曳和撩人的鏡頭都充滿情色張力。

And we never hear the lost, whispered words at the climax, which would be superfluous in any case: never before has a film spoken so fluently in the universal language of loss and desire.
我們也從沒聽到過高潮部分那些無從知曉的喃喃細語，就算聽到了，也是多余，因為從來沒有哪部電影能將失落和欲望的普遍主題講述得如此流暢。

– Justin Chang, Los Angeles Times

3

血色將至

There Will Be Blood (2007)

導演：保羅·托馬斯·安德森（Paul Thomas Anderson）

在線觀看地址（需付費）

From its near-wordless opening scene, Paul Thomas Anderson’s There Will Be Blood feels like something forged, not filmed.
幾乎無聲的開場使得保羅·托馬斯·安德森這部《血色將至》像是鍛造出來的，而不是拍出來的。

Daniel Day-Lewis, as turn-of-the-century prospector Daniel Plainview, grunts, spits and scrapes his way into a hole under baked Western earth; he strikes silver, drags his half-broken body to certify his claim, winds up discovering oil.
丹尼爾·戴·劉易斯飾演的礦工丹尼爾·普萊恩惟尤咕噥著、吐著唾沫星子，在炎熱的西部地下開采。他找到了銀礦，拖著自己半殘的身體確認所得，竟意外發(fā)現(xiàn)了石油。

The rest of the movie – a sprawling, half-mad testament to greed, industry, moral hypocrisy and ballyhoo at their most elementally American – could be watched with no sound at all and still be perfectly understood.
接下來的電影蔓延伸展，半帶瘋狂地見證著最具美國特色的貪欲、工業(yè)、虛偽和喧囂。同樣可以完全不帶聲音地看下去，且絲毫不影響理解。

– Ann Hornaday, The Washington Post