美国时间1月22日，奥斯卡将的相关提名将会公布。去年，官方在面对为何奥斯卡最佳导演提名缺失女性的质疑时，用“她们拍的电影很好，但不足以达到得奖的行列”这种蹩脚的借口回复。然而，以下七位女导演带着她们优秀的作品回归，用实力回应质疑。
（原文来自：Indiewire，原作者：katerbland，意译：月，排版：思）
01.
《不留痕迹》（导演黛布拉格兰尼克）
“Leave No Trace,” directed by Debra Granik
在电影工业体系内工作了将近30年，格兰尼克仅制作完成了三部故事长片。但每一部都通过造星般的明星表演（从蓝色骨头的大表姐詹妮弗劳伦斯到不留痕迹中的托马斯麦肯基）和对人类悲欢行为的关注而巩固了她电影的独特气质。
去年一月格兰尼克根据皮特罗克的小说“我的放弃”改编的电影“不留痕迹”在圣丹斯电影节上映后立刻赢得(评委的)喜爱。电影讲述了一个激动人心的故事：一位患有创伤后应激症的父亲（本福斯特）和他乐观的女儿远离人群，但他们却因为一个微小的错误打破了本就岌岌可危的生活。
布里克街在去年6月份上映了这部影片，虽然影片只收获了800万美元的票房，但它却赢得了来自评论界的诸多青睐：上映7个月后，在烂番茄上的新鲜度依旧维持在100%。格兰尼克不仅是三位角逐独立精神奖最佳导演的女性导演之一，同时这部电影也获得了最佳影片提名。其它投票机构，如洛杉矶影评人协会和圣地亚哥影评人协会都认为这部电影是最佳影片，并选格兰尼克为最佳导演。
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》（导演塔玛拉詹金斯）
“Private Life,” directed by Tamara Jenkins
距离导演塔玛拉詹金斯凭借“萨维奇一家”获得奥斯卡最佳剧本奖已经过去了十二年。如今，詹金斯带着她的另外一部作品《私人生活》重回大银幕。（值得一提的是，今年她也参与了另外一部被忽视的珍宝《赤裸朱丽叶》的编剧工作）在#私人生活#这部电影中，凯瑟琳哈恩和保罗吉亚玛提在片中饰演一对努力怀孕的夫妇（这部电影基于詹金斯本人的经历改编）就像我们上次提到格兰尼克的#电影不留痕迹#一样，本片在圣丹斯电影节首映后，就赢得了评委团的追捧。同时，当它在影院和媒体平台播放时，也收获了很多积极的评论。至今这部影片仍在烂番茄网站上保持着94%的新鲜度。导演詹金斯也同时获得了独立精神奖的最佳导演和最佳编剧双料提名，也为哈恩和独立精神奖的提名者凯莉卡特赢得了荣誉！
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.
《你从未在此》（导演林恩拉姆塞）
“You Were Never Really Here,” directed by Lynne Ramsay
一切等待都是值得的，在2017年戛纳电影节上，杰昆杰尼克斯和林恩拉姆塞分别获得了最佳男演员奖和最佳剧本奖。随后这位苏格兰电影人#Lynne Ramsay#就拍摄了乔纳森埃梅斯的同名短篇小说《你从未在此》，在这部剧情沉重，视觉上却令人眼花缭乱的影片中，菲尼克斯扮演一位被雇佣的警员，负责寻找被拐卖的女孩。而导演拉姆塞则充分发挥了自己把暴力和情感交织在一起的才能，在这部电影中的个人风格达到了顶峰。
在约翰尼格林伍德强劲的配乐和菲尼克斯丰满表演的支持下，#电影《你从未在此》#与导演此前的电影《默文卡拉》与#卡文怎么了#的气质一脉相承，但同时新电影“你从未在此”也展示了拉姆塞在镜头背后的成长。这部电影至今在#烂番茄#上保持着89%的新鲜度，并在去年年底获得英国独立电影奖八项提名（赢了两项）。不久，拉塞姆将会和导演格兰尼克和詹金斯在独立精神奖中角逐最佳导演，同时这部电影也获得了最佳故事片、最佳男演员和最佳剪辑三项大奖的提名~
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.
《你能原谅我吗？》（导演玛丽埃儿海勒）
“Can You Ever Forgive Me?,” directed by Marielle Heller
这两年的等待没有白费：三年前导演海勒带来了震惊影视圈的电影“少女日记”。如今她带着另一部新电影“你能原谅我吗”重回荧幕（与另外一位女性电影制作者尼克哈罗芬瑟共同撰写）。
电影以作家李艺瑟利儿真实又疯狂的生活为蓝本编写。在2018年福克斯探照灯影业发行前，在特柳赖德首映。
虽然在国内仅收获800万美元票房，但在烂番茄上却赢得了98%的新鲜度。主演梅丽莎麦卡西和理查德格兰特也相继在各大奖项中被提及（除了奥斯卡奖的提名外）。但各大奖项为何独独缺少了对导演海勒的“爱”呢？
即使是最近获得纽约影评人协会最佳男配角奖的格兰特也看不懂各大电影节这顿骚操作，并在公开发言中为导演海勒的才华证明“虽然在此之前，她只拍了一部电影，但毫无疑问她是一位非常有才华的年轻导演。她虽在电影节上获得了各项荣誉，但几乎没获得任何奖项提名。这是在令人惊讶。如果没有她，怎么会有我和梅丽莎麦卡西合作出演的影片呢？”
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.
《 骑士》（导演赵婷）
“The Rider,” directed by Chloe Zhao
多亏索尼经典影业，赵婷继《哥哥教我唱的歌》后又推出另一部别出心裁的力作《骑士》。《骑士》在戛纳电影节导演双周单元首映后，获得了艺术电影大奖。《骑士》沿袭了赵婷上部作品《哥哥教我唱的歌》中的一系列特质：现实和虚构融合、素人演员出演，角色贴合演员本人的生活。其实，赵婷在创造《哥哥教我唱的歌》时发现了“骑士”布雷迪安德鲁的故事，并根据他在创伤后试图重返竞技圈的经历创作了剧本。
即使是同样的本子由不同的导演来拍，最终的呈现结果都会不一样。但对于电影《骑士》来讲却不是这样，如果没有赵婷强有力的个人导演特质，这部电影将不会存在。《骑士》在小范围内，赢得了众多好评，Gothams和国家影评人协会把最佳影片大奖颁发给了它。同时，这部电影在去年的独立精神大奖中获得了四项提名，包括最佳故事片和最佳导演奖（赵婷是唯一一位获此殊荣的女性）。目前它在烂番茄网站上保持着97%的新鲜度。
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.
《无间炼狱》（导演卡瑞恩库萨马）
“Destroyer,” directed by Karyn Kusama
纵观卡萨马在好莱坞的发展轨迹，可以看出，她确实创造出了一些伟大的作品，但同时也揭露了一个残酷的现实：从令她一鸣惊人的“女生出拳”到命运多舛的“魔力女战士”，再到被低估的“詹妮弗的肉体“，库萨马在视觉呈现上从未妥协过。
在妮可基德曼担当主演，挑战侦探一角的黑色电影《无间地狱》中，库萨马把故事的这个暗黑和深沉的影片背景设置在阳光明媚的南加州。助演塞巴斯蒂安·斯坦、布莱德利·惠特福德和塔蒂亚娜·马斯兰尼的出色表演为影片平添了几分精彩。编剧菲尔·海和马特·曼弗雷迪的加盟，确保了剧本的深度。
但这一切都要归功于导演卡萨马对影片整体风格的把控。不论是由妮可基德曼饰演的主角在卧底时的戏剧性时刻、硬核的追捕镜头还是两起银行抢劫案都能让人紧张到手心冒汗。
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.
《幸福的拉扎罗》（导演阿莉切罗尔瓦赫尔）
“Happy as Lazzaro,” directed by Alice Rohrwacher
阿莉切罗尔瓦赫尔的第三部长片有多好呢？好到马丁斯科塞斯一看到就爱上了它，然后做了这部电影的监制。电影去年五月在戛纳电影节首映，导演罗尔瓦赫尔赢走了最佳编剧奖。这部电影在电影节上一路高歌猛进，随后在苏黎世、纽约、芝加哥、伦敦和墨尔本等地上映，最终在11月份登陆Netflix。
这部影片讲述了一个如梦似幻，跨越时间的童话故事（毫无疑问，观众也足够聪明，可以理解这个故事）电影主人公以拉扎罗的名字明明，讲他从一个贫穷的农场穿越时间来到了另外一个地方。这是今年最有创意的长片之一，但正像导演阿莉切此前的长片一样（包括广受赞誉的“奇迹”），这次的风格依旧是真实且个人化。目前这部电影在烂番茄上保持着90%的新鲜度，并且已经获得了今年独立电影节最佳外语片，同时也被美国国家评论委员会提名为年度最佳的外语片之一！
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
这里有严肃剧评～多面影评～反面书评～脑洞小故事～搞笑新闻～
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