The film critics of The New York Times — Manohla Dargis and A. O. Scott — share their picks for the best movies of the year.

时报影评人曼诺拉·达吉斯(Manohla Dargis)与A·O·斯科特(A. O. Scott)分享他们挑选的年度最佳电影。

Manohla Dargis

曼诺拉·达吉斯

You might think that our love of lists could be pinned on the Ten Commandments, but Umberto Eco says otherwise. “The list is the origin of the culture,” he once said on a subject he knows well, having written a book titled “The Infinity of Lists.” And culture wants “to make infinity comprehensible” and “to create order — not always, but often,” hence Homer’s catalogs in “The Iliad” and the roll call of never-completed household chores on my fridge. “We like lists because we don’t want to die,” Mr. Eco also said, which is the best explanation of the listicle that I’ve yet read.

你可能觉得我们对于列清单的爱好是从“十诫”继承而来，但安伯托·艾柯( Umberto Eco)的说法却正相反，“清单是文化的起源”，他写过一本书，《无限的清单》(The Infinity of Lists)，书中在讨论自己熟悉的东西时这样说道。而且，文化希望“让无限变得可以理解”，并且“创造秩序——不是永远如此，但通常都是这样”，所以才有了荷马在《伊利亚特》中的人名清单，以及你冰箱上贴着的，永远做不完的家务清单。“我们喜欢清单，因为我们不想死，”艾柯还说，这可能是对“清单体”(listicle)的最佳解释了。

Death may be behind the ritual of the critic’s top 10 lists, including that of physical media: Lists are easy to read on cellphones even if the deluge of entertainment media increasingly makes comprehensive viewing near-impossible. More than 900 movies will have opened in New York by the end of this year, many slipping in and out of theaters quickly and racing toward on-demand oblivion. Even so, I watched several hundred features over the year and liked quite a few; the major studios and the independent sector released the expected junk but, as usual, movies of merit. What follows are my favorite moving pictures of 2015 and another 10 miscellaneous notes on the year.

死亡可能隐藏在评论人的十大清单这一仪式之后，也包括实体媒体的死亡：清单在手机上更容易读，就算娱乐媒体的泛滥，已经令深刻的阅读近乎不可能实现。截止到年底，纽约今年一共上映了900多部电影，很多影片都在影院内匆匆来去，由于缺乏观众而被遗忘。尽管如此，这一年里，我看了几百部影片，喜欢其中的一部分；不出所料，大制片公司和独立公司都有垃圾制作，但和往常一样，也不乏有价值的作品。下面是我在2015年最喜欢的影片，以及今年的十则杂记。

1. “The Assassin” and “Mad Max: Fury Road” (tie) Hou Hsiao-Hsien and George Miller directed the year’s two best commercial movies, both of which should be seen on the biggest screen you can find.

1.《刺客聂隐娘》(The Assassin)与《疯狂的麦克斯4：狂暴之路》(Mad Max: Fury Road)，并列。侯孝贤和乔治·米勒(George Miller)导演了今年最好的两部商业片，二者都应该到你能找到的最大的屏幕上去看。

2. Luminous Intimacy: The Cinema of Nathaniel Dorsky and Jerome Hiler All praise and many deep-felt thanks to the New York Film Festival for programming this sublime dual retrospective.

2. “闪光的密切：纳撒尼尔·多斯基与杰罗姆·希勒的电影”(Luminous Intimacy: The Cinema of Nathaniel Dorsky and Jerome Hiler)。赞美纽约电影节，感谢纽约电影节，举办了这样一次令人赞叹的双人回顾影展。

3. “Bridge of Spies” Years ago, Steven Spielberg entered the ranks of Pantheon Directors, to borrow the most exalted category in Andrew Sarris’s taxonomic “The American Cinema” — and there he remains.

3. 《间谍之桥》(Bridge of Spies)。几年前，史蒂文·斯皮尔伯格(Steven Spielberg)进入了殿堂级导演的行列，从安德鲁·萨里斯(Andrew Sarris)所谓的“美国电影”中借鉴了最崇高的形式——这部影片中他仍然保持水准。

4. “Carol” This is the first movie that Todd Haynes directed that doesn’t have his name on it as a writer. Working from Phyllis Nagy’s distillation of the Patricia Highsmith novel, he reaffirmed that filmmakers don’t need to generate their own screenplays to be great, a truth many aspiring and established auteurs disregard.

4. 《卡罗尔》(Carol)。这是托德·海因斯(Todd Haynes)第一次执导不由自己编剧的影片，编剧菲丽丝·奈吉(Phyllis Nagy)简化了派翠西亚·海史密斯(Patricia Highsmith)的小说原著，海因斯藉此再次证明，电影导演不必依靠拍自己亲自写的剧本才能成为伟大导演，这个真理却遭到许多雄心勃勃或功成名就的导演忽略。

5. “In Jackson Heights” The latest from the brilliant Frederick Wiseman has a three-hour-plus running time; maybe this explains why once again the dunderheads at the Academy didn’t put him in contention.

5. 《在杰克逊高地》(In Jackson Heights)。杰出的弗里德里克·怀斯曼(Frederick Wiseman)带来的三个多小时的新作；这或许可以解释为什么奥斯卡奖的蠢材们再一次没有把他加入候选名单。

6. “The Martian” With its red-rock buttes and mesas, Ridley Scott’s deeply satisfying space western both draws from an enduring genre and his own Pantheon legacy. (Read the review.)

6. 《火星救援》(The Martian)。在布满红色岩石的山坡与丘陵之间，雷利·斯科特(Ridley Scott)这部非常令人满意的太空西部片既源自一个历史悠久的类型，也源自他的殿堂级遗产。

7. “The Kindergarten Teacher” In his tough, weird knockout, the Israeli director Nadav Lapid spins the story of a teacher’s obsession with a child poet to create a savage portrait of fanaticism and its costs.

7. 《教师》(The Kindergarten Teacher)。在这部严酷、怪异的轰动之作中，以色列导演那达夫·拉皮德(Nadav Lapid)讲述一个教师对一个儿童诗人的迷恋，为狂热及其代价绘制了一幅残忍的肖像。

8. “The Diary of a Teenage Girl” In her terrific feature debut, Marielle Heller traces the artistic and sexual awakening of a 15-year-old (a sensational Bel Powley) whose desires leads to adulthood.

8. 精彩出演）的艺术觉醒与性觉醒，欲望令她长大成人。

9. “The Big Short” Adam McKay plays it for comedy, but as he carpet-bombs the screen with laughs, he makes it clear that his take on the 2008 economic meltdown is a staggering American tragedy.

9. 《大空头》(The Big Short)。亚当·麦凯(Adam McKay)把影片处理为喜剧，但在他以笑声轰炸屏幕的同时，也表明他对这场2008年经济崩溃的呈现是一场让人心碎的美国悲剧。

10. “Sixty Six” Lewis Klahr’s beautiful compilation of digital short works, which refashion pop culture in a heroic key, played for only one night at the Museum of Modern Art. But his work shows up in cities like Los Angeles and San Francisco, too, so if you’re in the neighborhood, look for his next show.

10. 《66》(Sixty Six)。刘易斯·卡尔(Lewis Klahr)把数码短片精彩地汇集在一起，以一种英雄气概的方式复制流行文化，它只在MoMA上映过一晚。但他的作品也在洛杉矶和旧金山等城市上映，所以如果你住在附近，可以去看他的下一次展映。