The 66th Cannes Film Festival kicks off on Wednesday with Baz Luhrmann’s 3-D spectacle “The Great Gatsby” starring Leonardo DiCaprio. Other high-profile directors unveiling their new films include Steven Soderbergh (“Behind the Candelabra”), Roman Polanski (“Venus in Fur”), Asghar Farhadi (“The Past”) and brothers Ethan and Joel Coen (“Inside Llewyn Davis”).
第66届戛纳电影节(Cannes Film Festival)周三开幕，开幕式上放映了巴兹•吕尔曼(Baz Luhrmann)导演的3D大片《了不起的盖茨比》(The Great Gatsby)，该片的主演是迪卡普里奥(Leonardo DiCaprio)。携带自己的新片参加本届戛纳电影节的其他知名导演还有索德伯格(Steven Soderbergh)、波兰斯基(Roman Polanski)、法哈蒂(Asghar Farhadi)和伊桑•科恩(Ethan Coen)和乔尔•科恩(Joel Coen)兄弟，他们带到电影节的影片分别为《烛台背后》(Behind the Candelabra) 、《穿裘皮的维纳斯》(Venus in Fur)、《过去》(The Past)和《醉乡民谣》(Inside Llewyn Davis)。
So how does Asia fare in this year’s lineup? Not bad, as it turns out. Big-name filmmakers such as Japan’s Takashi Miike, Jia Zhangke of China and Hong Kong’s Johnnie To will hit the red carpet with their latest films, along with first-time directors from India, Hong Kong and Singapore.
今年出席戛纳电影节的人士中亚洲电影人的阵容如何？事实证明，还不错。日本的三池崇史(Takashi Miike)、中国的贾樟柯和香港的杜琪峰等知名电影导演都将携自己的最新电影走上本届电影节的红地毯，还有一些印度、香港和新加坡的导演是首次出席戛纳电影节。
In addition, this year’s jury, which is headed by Steven Spielberg, includes three high-profile members from Asia: Oscar-winning director Ang Lee, Indian actress Vidya Balan and Japanese director Naomi Kawase.
此外，由斯皮尔伯格(Steven Spielberg)担任主席的本届戛纳电影节评委会包括三位来自亚洲的知名成员，他们是曾获得奥斯卡最佳导演奖的李安、印度女演员薇迪雅•巴兰(Vidya Balan)和日本导演河濑直美(Naomi Kawase)。
Here’s a quick look at what Asian filmmakers have on tap for this year’s festival, which runs through May 26.
以下是亚洲导演在今年戛纳电影节上的参展影片，本届电影节将持续到5月26日。
OFFICIAL SELECTION (COMPETITION)
入围竞赛单元的影片
“Like Father, Like Son” (Japan)
日本影片《像父又像子》(Like Father, Like Son)
Hirokazu Koreeda’s heartbreaker begins when a father learns that his son was accidentally switched with another baby at the hospital where they were both born, and that he has been raising another man’s child for the past six years. This is the director’s fourth film to be screened at Cannes and the third in the festival’s main competition.
是枝裕和(Hirokazu Koreeda)导演的这部伤感片是这样开头的：一位父亲发现，自己的儿子出生时在医院里不小心被与别的孩子掉了包，过去六年里他一直抚养的其实是别人的孩子。本片是这位导演在戛纳电影节上放映的第四部影片，也是他入围戛纳电影节主竞赛单元的第三部影片。
“Shield of Straw” (Japan)
日本影片《稻草之盾》(Shield of Straw)
Here’s a premise that would guarantee a jolt while reading the morning news: A billionaire places notices in papers offering a one-billion-yen bounty for a man he says murdered his granddaughter. Director Takashi Miike, known for his offbeat and violent-themed films, makes his third appearance at Cannes and his second in competition.
阅读早间新闻的人看到这种消息肯定会感到震惊：一名亿万富翁在报纸上刊登广告，悬赏10亿日圆缉拿一名他说谋杀了他孙女的男子。以喜欢拍摄离奇和暴力题材电影而闻名的导演三池崇史今年是第三次参加戛纳电影节，也是第二次携片参加该电影节竞赛单元的角逐。
“A Touch of Sin” (China)
中国影片《天注定》
Jia Zhangke takes a harsh look at the social problems facing the world’s second-largest economy, and at how the widening gap between rich and poor, endemic corruption and displaced lives has brought on a wave of violent reactions from the less fortunate. Mr. Jia previously explored the complexities of modern China in “Still Life” and “24 City,” but never in such stark images. This is his fourth film at Cannes and the third in competition.
导演贾樟柯以严厉的眼光看待中国这个世界第二大经济体所面临的社会问题，以及中国不断扩大的贫富差距、无处不在的腐败和穷人流离失所的生活在中国不那么幸运的人群中引发的一波暴力反应。贾樟柯以前虽然在《三峡好人》和《二十四城记》这两部影片中探索过当代中国的复杂性，但他这两部影片中的人物形象从未像《天注定》这部片子中的人物形象那么鲜明。《天注定》是贾樟柯参加戛纳电影节的第四部影片，也是他参加该电影节竞赛单元角逐的第三部影片。
OFFICIAL SELECTION (UN CERTAIN REGARD)
入围“一种关注”单元的影片
“Bends” (Hong Kong)
香港影片《过界》(Bends)
First-time director Flora Lau teams with veteran cinematographer Christopher Doyle for this topical story about two disparate people ─ a wealthy Hong Kong woman and her mainland chauffer ─ to explore the sometimes-fraught relationship between China and Hong Kong.
首次担任电影导演的刘韵文与老资格的电影摄像师杜可风(Christopher Doyle)合作拍摄了这部社会话题影片，影片的主角是身份截然不同的两个人，一个是富有的香港女性，一个是她的中国大陆籍司机，这部影片探讨了中国大陆和香港间有时令人担忧的相互关系。
“Death March” (Philippines)
菲律宾影片《死亡行军》(Death March)
Prolific indie director Adolfo Alix Jr.’s World War II drama is about how Philippine and U.S. soldiers are forced to endure brutal conditions at the mercy of the Japanese army, and their downward spiral amid death, disease and starvation.
多产的独立电影导演小阿多弗•亚历克斯(Adolfo Alix Jr.)执导的这部影片讲述的是二战期间，被日军俘虏的菲律宾和美国士兵被迫忍受恶劣的条件，在死亡、疾病和饥饿的威胁下的悲惨遭遇。
“The Missing Picture” (Cambodia)
柬埔寨影片《残缺影像》(The Missing Picture)
Documentary filmmaker Rithy Panh, who explored the legacy of a Phnom Penh high school that was turned into a torture chamber in “S-21: The Khmer Rouge Killing Machine” (2003), takes another look at Cambodia’s harrowing genocidal history.
纪录片导演潘礼德(Rithy Panh)通过该片再次展现柬埔寨种族灭绝的惨痛历史。在2003年推出的影片《S21－红色高棉杀人机器》(S-21: The Khmer Rouge Killing Machine)中，他曾探讨了金边一所变身为酷刑室的高中学校遗留下来的问题。
“Norte, the End of History” (Philippines)
菲律宾影片《历史的终结》(Norte, the End of History)
The festival describes indie director Lav Diaz’s four-hour long drama about a man who’s been unjustly imprisoned for a murder he didn’t commit as a look at the “never-ending cycle of betrayal and apathy” in the Philippines.
独立导演拉夫•迪亚兹(Lav Diaz)执导的这部长达四小时的剧情片讲述的是，一名无辜男子因被误判谋杀罪而蒙冤入狱。戛纳电影节称，导演通过该片审视了菲律宾“背叛与冷漠的无休止循环”。
OFFICIAL SELECTION (OUT OF COMPETITION)
非竞赛单元
“Blind Detective” (Hong Kong)
香港影片《盲探》(Blind Detective)
Johnnie To unites the star power of Andy Lau and Sammi Cheng in this thriller about a gifted ─ and blind ─ private eye who comes to the aid of a woman trying to unravel the mysterious disappearance of her friend 10 years earlier.
香港导演杜琪峰携手两位巨星刘德华和郑秀文共同缔造了这部惊悚片。影片讲述的是一位天才盲侦探帮助一名女子揭开10年前其朋友神秘失踪的谜团。
“Monsoon Shootout” (India)
印度影片《季风杀戮》(Monsoon Shootout)
Amit Kumar’s debut feature is a philosophical tale about a cop who ─ on first day on the job ─ confronts a life-or-death decision, with three separate outcomes playing out as he chases a criminal on the rain-swept streets of Mumbai.
阿米特•库马尔(Amit Kumar)的处女作是一个哲学故事，讲的是头天上任的一个警察在暴雨过后的孟买街道上追逐罪犯。警察面临一个生死抉择。影片给出了三种不同选择，每种选择都会带来不同的结局。
OFFICIAL SELECTION (SPECIAL SCREENINGS)
特别展映单元
“Bombay Talkies” (India)
印度影片《孟买之音》(Bombay Talkies)
A quartet of filmmakers ─ Zoya Akhtar, Dibakar Banerjee, Karan Johar and Anurag Kashyap ─ team up for this four-part feature-length film that celebrates 100 years of Bollywood.
四位制片人卓娅•阿赫塔尔(Zoya Akhtar)、迪巴卡尔•班纳吉(Dibakar Banerjee)、卡伦•乔哈尔(Karan Johar)和阿努拉格•卡施亚普(Anurag Kashyap)、携手制作了这部分成四个部分的长篇电影。该片是为了庆祝宝莱坞100周年而拍摄的。
DIRECTORS’ FORTNIGHT
导演双周单元
“Ilo Ilo” (Singapore)
新加坡影片《爸妈不在家》
Set in the late 1990s, Anthony Chen’s first feature looks at the relationship between a Singaporean boy and his family’s Filipina housekeeper.
该片背景设置在上世纪90年代末，这是导演陈哲艺的首部剧情片。讲述的是一个新加坡男孩儿和他家菲律宾女佣的关系。
“On the Job” (Philippines)
菲律宾影片《杀手职场》(On the Job)
Director Erik Matti’s film focuses on four men ─ two duos on opposite sides of the law ─ and the impact of their actions on their families.
导演埃里克•马蒂(Erik Matti)的电影侧重于四个男人。他们两人为一组，各自站在法律的两边。影片探讨了他们的行为对其家庭造成的影响。
“Ugly” (India)
印度影片《丑陋》(Ugly)
In addition to his short film in “Bombay Talkies,” Anurag Kashyap will premiere his feature about the young daughter of divorced parents who goes missing.
除了短片《孟买之音》，卡施亚普此次在戛纳还将首映其剧情片《丑陋》。影片讲述的是一对离婚父母的年轻女儿失踪的故事。
“Taipei Factory” (Taiwan)
台湾影片《台北工厂》(Taipei Factory)
This omnibus brings together a quartet of young Taiwan directors and four foreign directors (from Chile, France, Iran and South Korea) to collaborate on four short films set in Taipei. The goal of this special project is to exchange life experiences and foster new talent in Taiwan and around the world.
该片汇集了四位年轻的台湾导演和四位外国导演（分别来自智利、法国、伊朗和韩国），他们共同呈现了四部以台北为背景的短片。这个特别项目的目的是交流各自的生活经历，培育台湾和全球的新兴人才。