台中盆栽村 何國銘+何永裕+MH

阿薩亞斯 Olivier Assayas’s Top 10

French filmmaker Olivier Assayas has directed fifteen features, including Cold Water, Irma Vep, Demonlover, Summer Hours, Carlos, and Clouds of Sils Maria.

1. 《浩氣蓋山河》The Leopard | 1963 | 義法 | 盧奇諾·維斯康蒂 | CC#235 

阿薩亞斯: 導演近四十年來曾經做過的最偉大的電影之一，仍然是電影史上令人恐懼和令人不安的人物。 維斯康帝的電影以其雄心壯志，以過去和現在的個人與歷史為依歸，遠遠超越媒體的界限。 豹子，他最半透明，高聳的成就，體現了一切最好的電影製作可以，宏偉，深刻，娛樂，物理和形而上學，鋒利的刀片和劇情。 它永遠與你在一起。

One of the greatest films ever made by a director who, almost forty years after his death, is still an intimidating and disturbing figure in the history of cinema. Visconti’s films stand outside the borders of the medium, by their ambition, by their scope, uniting past and present, individuals and history, both deeply human and transcendent. The Leopard, his most translucent, towering achievement, embodies everything the best filmmaking can be, grand, profound, entertaining, physical and metaphysical, sharp as a blade and melodramatic. It stays with you, forever.

2. 《扒手》| 1959 | 法國 | 羅伯·布列松 

(tie)

《安德烈·盧布耶夫》| 1966 | 俄羅斯 | 安德烈·塔可夫斯基 

我不會在這裡寫這些線，而是羅伯特·布列松; 當我還是一個十幾歲的時候，他的電影向我展示了電影可能是什麼，向我展示了電影如何與其他藝術的傑作相媲美。 他給我看電影是值得投入生活的東西。

英格瑪·伯格曼曾經說過，塔可夫斯基毫不費力地在絕大多數電影人一生中奮鬥的地區。 我不認為我能比他好一點。

I wouldn’t be here writing these lines but for Robert Bresson; when I was still a teenager, his films showed me what cinema could be, showed me how cinema could rival the masterpieces of the other arts. He showed me cinema was something worth devoting one’s life to.

Ingmar Bergman once said that Tarkovsky moved effortlessly in areas most filmmakers struggled all their life to reach. I don’t think I’d be able to put it better than him. 

3. 《白鬼子》| 2009 | 法國 | 克萊兒·德尼 

(tie)

《屬於我們的聖誕節》| 2008 | 法國 | 阿諾·戴普勒尚 

(tie)

《重慶森林》Chungking Express | 1994 | 香港 | 王家衛 35歲 

(tie)

《年少輕狂》Dazed and Confused | 1993 | USA | 李察林克雷特 32歲 

(tie)

《紐約哈哈哈》Frances Ha | 2012 | USA | 諾亞包姆巴赫 44歲  

(tie)

月昇冒險王國 Moonrise Kingdom (2012)  Wes Anderson  43歲

(tie)

《一一》Yi yi | 2000 | 台灣 | 楊德昌 52歲 

通常，當我閱讀電影製片人的名單（包括我的名單）時，我會因他們同時代人的缺席而感到沮喪。 現在總是最難閱讀，如果你專注於過去的大師，沒有人會爭論。 但這裡有一些電影製作人的名字，我有幸從一開始就關注他們的作品； 我們或多或少經常相遇，但我一直很欽佩它們，也因為它們一直是一種靈感。 我覺得我與他們或他們的電影進行了對話，這反映在我自己的作品中。 楊德昌走了，我很想他，他和侯孝賢一起發明了現代中文電影，他是我的朋友。

Often, when I read filmmakers’ lists (including mine), I am frustrated by the absence of their contemporaries. The present is always the hardest to read, and no one will argue if you focus on masters of the past instead. But here are a few names, filmmakers whose work I have been lucky to follow since their beginnings; we’ve crossed paths, more or less frequently, but I have admired them constantly, also because they have been an inspiration. I feel I have had a dialogue with them, or with their films, and it is reflected in my own work. Edward Yang is gone, I miss him a lot, he invented modern Chinese cinema alongside Hou Hsiao-hsien, he was my friend.

4. 《納許維爾》Nashville | 1975 | 美國 | 勞勃阿特曼 50歲

在1971年和1975年之間，勞勃阿特曼（Robert Altman）可能沒有錯，納什維爾是這條連線的頂點。 好萊塢很少有自由，獨立，真正的自發性。 長鏡頭，跟踪拍攝，他給演員的空間，他讓他們重疊的方式，鬆動和深度敘述，它的呼吸新鮮空氣，在平時悶和惡劣的環境。 但是，它並沒有持續很久。

Between 1971 and 1975, Robert Altman could do no wrong, and Nashville is the culmination of that streak. There had rarely been before him in Hollywood such a sense of liberty, of independence, of genuine spontaneity. The long takes, the tracking shots, the space he gives actors, the way he lets them overlap, the looseness and the depth of the narratives—it was a breath of fresh air in a usually stuffy and hostile environment. It didn’t last long, though.

5. 天堂之門 Heaven’s Gate | 導演: Michael Cimino

幾個星期前，我再次看到了這個恢復令人難以置信的導演的剪輯。 我一直欽佩邁克爾·西米諾，當我們被釋放時，我喜歡天堂之門 - 一些詭計。 現在，我不敢相信我可以對這個傑作有任何疑問。 它不只是它的年齡很好; 它消除了任何疑問：由於某種原因，時間的流逝（記住唯一真正移動的標語，生活中的一切都是褪色的東西）。這部電影作為我看不到的非凡的超越勝利。 通過時間的迴響，它終於到達我們的方式只會使它更加活躍，令人心碎，甚至。

I saw this one again a few weeks ago in its incredible restored director’s cut. I have always admired Michael Cimino, and I loved Heaven’s Gate when it was released—with some quibbles. Now, I can’t believe I could have had any quibble about this masterpiece. It’s not just that it ages well; it wipes away any doubt: for some reason the passing of time (remember the only genuinely moving tagline ever? What one loves in life are things that fade.) reveals this film as the extraordinary, transcendent triumph I could not see then. And the way it finally reaches us through the echo of time only makes it more moving, heartbreaking, even.

6. 錄影帶謀殺案 Videodrome  | 導演:大衛柯能堡

柯南伯格是個天才。 他重塑了流派電影製作，賦予其最雄心勃勃的小說的深度。 這個真正有遠見的工作必須是他的傑作之一。 當它被釋放時，我不敢相信我的眼睛。 我不敢相信一個電影製作人可能不僅僅是抓住了我們現在的靈魂，還有其隱藏的意義，而且還發現了它的詩歌，它的神秘之美。 eXistenZ，十五年後在一個非常不同的世界拍攝，以令人著迷的方式回應。 我認為大衛·柯南伯格是偉大的現代藝術家之一。

Cronenberg is a genius. He reinvented genre filmmaking, giving it the depth of the most ambitious fiction. This truly visionary work must be one of his masterpieces. When it was released, I couldn’t believe my eyes. I couldn’t believe a filmmaker could have not just captured the very soul of our present, or its hidden meaning, but also found its poetry, the mysterious beauty of it. eXistenZ, shot fifteen years later in a very different world, echoes it in fascinating ways. I consider David Cronenberg to be one of the great modern artists.

7. 《切：28歲的革命》The Argentine | 2008 | 美國 | 史蒂芬索德柏 45歲 

《切：39歲的告別信》CHE: Guerrilla | 2008 | 美國 | 史蒂芬索德柏 45歲  

史蒂文·索德伯格完全搖滾。 他是今天美國最勇敢，最聰明，最原創的電影人。 我不喜歡他所有的電影，但我不僅喜歡，而且欣賞他們的大多數; 甚至在他的小工作中，還有一些比其他一些最成功的作品更加真實的對電影的愛和理解。 曾經這樣認真處理軍事策略的電影Che，幫我想像卡洛斯的規模，否則會嚇倒我。

Steven Soderbergh totally rocks. He is the bravest, smartest, most original filmmaker in the U.S. today. I don’t like all his films, but I not only like but admire most of them; and even in his minor work there is still more genuine love and understanding of cinema than in the most accomplished works of some others. Che, the one movie ever made that seriously deals with military strategy, helped me imagine Carlos on a scale that otherwise would have intimidated me.

8. 甜蜜的生活 La dolce vita | 費里尼

(tie)

影子軍隊 Army of Shadows | 梅爾維爾

我從來沒有非常喜歡Fellini，對我來說太巴洛克式。但是La dolce vita是一部驚人的電影，總結了一個時代，一個文化，一個城市;以自己的方式具有歷史意義。也許這是那個時期偉大的意大利電影，就像讓·尤斯塔赫（Jean Eustache）的母親和妓女，是十年後製作的最終的新穎模糊的電影，那個曾經是邊緣人物的人，體現了一個城市，一個時代，一個文化現在已經消失了。

對於讓 - 皮埃爾·梅爾維爾（Jean-Pierre Melville）的欽佩，多年來一直在增長。他是一個極簡主義者，像布雷松，但是沒有太多意義上的排空框架 - 它更多的是擺脫了很多可見的替代它與隱形。我沒有拍攝很多流氓黑社會，但是我可以理解他對這兩個不法分子和警察的迷戀，因為他們的世界被背叛和死亡所困擾。在“陰影軍團”中，他採用了約瑟夫·凱塞爾（Joseph Kessel）的半自傳小說，並製作了法國電影的終極電影。凱塞爾和梅爾維爾都參與了自由法國，這裡的電影與歷史相遇。歷史悠久的偉大藝術家不僅超越了自己的靈感，而且超越了媒介。陰影之隊不僅是法國最重要的電影之一，也是國寶。

I’ve never been very fond of Fellini—too baroque for me. But La dolce vita is an amazing film, summing up an era, a culture, a city; in its own way it is of historical importance. Maybe it is the great Italian film of that period, in the same way that The Mother and the Whore, by Jean Eustache, is the ultimate nouvelle vague film made ten years later, by someone who had been a marginal figure of the movement, and embodying a city, a time, a culture now all gone.

My admiration for Jean-Pierre Melville has only been growing through the years. He is a minimalist, like Bresson, but not so much in the sense of emptying the frame—it’s more about getting rid of a lot of the visible to replace it with the invisible. I haven’t been filming a lot of gangsters, but I can understand his fascination for both outlaws and cops, for their world haunted by betrayal and death. In Army of Shadows, he adapts a semi-autobiographical novel by Joseph Kessel and makes the ultimate film of the French Resistance. Both Kessel and Melville had been involved with the Free French, and here cinema meets history. A great artist carried by historical circumstances transcends not just his own inspiration but the medium. Army of Shadows is not only one of the most important French films, it is also a national treasure.

9. 芬妮和亞歷山大 Fanny and Alexander — The Television Version | 柏格曼

(tie)

酣歌暢戲 Topsy-Turvy | 麥克李

當然，范妮和亞歷山大的電視剪輯版是伯格曼認可的唯一版本。它之所以被稱為電視版，是因為它的融資方式是這樣的，但這意味著要在大屏幕上看到一個中場休息。這是伯格曼的最後一部傑作。嗯，不完全是，因為他多年來一直在製作偉大的電影。但在總體規劃中，這是最後一部真正的電影，是他主要工作的結束——其他的應該是腳註（他們不是）。最初，這部電影被忽視了，因為在縮短的所謂的戲劇版本中，它失去了一些豐富的質感。只是逐漸地，當它以完整版被重新審視時，它把自己強加給了自己，至少對我來說，是他整個作品的關鍵。

我必須將 Topsy-Turvy 納入此列表。這也是一個時代的作品。這本被誤解、被低估的吉爾伯特和沙利文傳記一定是對演藝界最感人、最有趣、最殘酷的描述之一，它在藝術和商業之間存在分歧。我們既看到了創作的煎熬，也看到了票房的焦慮。對我來說，它只能與讓·雷諾阿的法國康康舞相提並論。

The television cut of Fanny and Alexander, of course, which is the one and only version Bergman approved of. It is called the television version because that’s how it was financed, but this is meant to be seen on a big screen with one intermission. It is Bergman’s final masterpiece. Well, not exactly, as he kept on making great films for years afterward. But in the master plan, this is the last actual film, the closing of his main body of work—others are supposed to be footnotes (they’re not). Initially, this film was overlooked because, in the shortened so-called theatrical version, it lost some of the richness of its texture. It was only gradually, when it was revisited in its full version, that it imposed itself, at least on me, as the key to his whole body of work.

I had to fit Topsy-Turvy into this list. It is also a period piece. This misunderstood, underrated biography of Gilbert and Sullivan must be one of the most touching, funniest—and cruelest—depictions of show business, split between art and commerce. We see both the torments of creation and the anxieties of the box office. To me, it compares only with Jean Renoir’s French Cancan.

10. 慾望 Désiré | Sacha Guitry

(tie)

朱德斯 Judex | Georges Franju

我不敢相信Sacha Guitry的天才在法國邊界之外被誤解。他實際上是法國電影歷史上最重要的人物之一，與最偉大的人物相當。我懷疑他有這個邊緣地位，因為當他開始製作電影的時候，你可以錄製聲音 - 他已經是一個中年超級認可，超級成功的舞台。他的風格對沉默時代沒有任何影響他是第一位法語電影人，長期以來依靠語言。但他當然從來不滿足於簡單地記錄自己的戲劇;他痴迷於使用電影的特色來超越他們，並且在這樣做時他開創了一種全新的語言。由他的妻子杰奎琳·德魯巴克（Jacqueline Delubac）啟發，然後是GenevièveGuitry，那麼最經常領先Guitry的Lana Marconi是法國第一名作家/導演，也許是最偉大的作家。

Désiré是一部出色的電影。我希望標準會發布LeComédien，他父親的肖像，著名的演員Lucien Guitry和我個人的最愛。

另一個被誤解的法國導演是喬治·弗蘭朱（Georges Franju），他們大多以“無眼睛的眼睛”而著稱，但實際上是一個非常一致的作品，包括Judex，作者Louis Feuillade系列的靜悄悄的詩意改編。

I can’t believe how the genius of Sacha Guitry is misunderstood outside the borders of France. He is actually one of the most important figures in the history of French cinema, on a par with the greatest. I suspect he has this marginal status because when he started making films—the minute you could record sound—he was already a middle-aged ultra-recognized, ultra-successful figure of the stage. His style owes nothing to the silent era; he is the first French filmmaker, in a long line, who relies on language. But he was of course never content to simply record his own plays; he was obsessed with using the specificities of cinema to transcend them, and in doing so he pioneered a whole new language. Inspired by his wives—first Jacqueline Delubac, then Geneviève Guitry, then Lana Marconi, who most often had the lead—Guitry was the first French writer/director, and possibly the greatest.

Désiré is a remarkable film. I wish Criterion would release Le comédien, a portrait of his father, the famous actor Lucien Guitry, and my personal favorite.

Another misunderstood French director is Georges Franju, who’s mostly known for Eyes Without a Face but actually the author of a very consistent body of work, including Judex, a quietly disturbing poetic adaptation of Louis Feuillade’s serial.

11. 男人的爭鬥 Rififi | Jules Dassin

(tie)

大盜 Thief | Michael Mann

Rififi是一個奇怪的動物，基於一個典型的法國犯罪作家奧古斯特·布雷頓頓的小說，並在巴黎拍攝作為一個偉大的美國電影製作人在他的權力的第一部外國電影，其職業生涯被打破了麥卡錫主義。朱爾斯·達辛（Jules Dassin）以前在倫敦五年前製作的電影“夜市”是他的傑作。這種法國和美國黑人的混合動物，我在法國電視上作為一個孩子發現 - 一直對我的暴力，絕望，黑暗和美麗印象深刻。它也是非常有影響力的，不僅在梅爾維爾，他的許多作品都來自裡菲菲，而且還有許多法國流派的小數字。達辛重塑了整個語法，並且後果已經被感受了很久。

我是邁克爾·曼的粉絲他今天是美國電影中最受啟發的設計師之一，但從一開始就是這一切。在小偷，他的第一個功能，你有梅爾維爾（它是圓圈）的迴聲，一個清晰的眼睛，現實主義，而且深刻的人物與精確繪製的關係，和偉大的表現。曼恩對幾何現代性的迷戀，即使它始終是由流派電影製作的媒介，真的讓人聯想到安東尼奧尼，明確地說，在最後的熱火場面。

Rififi is a strange animal, based on a novel by a typically French crime writer, Auguste Le Breton, and shot in Paris as the first foreign-language film by a great American filmmaker at the height of his powers, whose career had been broken by McCarthyism. Jules Dassin’s previous film, made in London five years earlier, Night and the City, is his masterpiece. This inspired hybrid of French and American noir—which I discovered as a child on French TV—has constantly impressed me with its violence, its despair, its darkness, and its beauty. It has also been hugely influential, not only on Melville—so much of his work derives from Rififi—but also on a lot of minor figures of French genre. Dassin reinvented the whole syntax, and the after-effects have been felt for a long time.

I am a fan of Michael Mann; he is one of the most inspired stylists in American cinema today, but it was all there from the start. In Thief, his first feature, you have echoes of Melville (it goes full circle), a sharp eye for realism, but also profound human characters with precisely drawn relationships, and great acting. Mann’s fascination with a geometrical modernity, even if it is always mediated by genre filmmaking, is genuinely reminiscent of Antonioni—explicitly so in the last scenes of Heat.