In a professional career of two decades, the director Jia Zhangke has distinguished himself as one of the most singular and stalwart talents in contemporary Chinese cinema. His movies, including “Platform” (2000), “The World” (2004) and “A Touch of Sin” (2013), combine humanist empathy with a sharp eye for how societal change affects personal relationships. They often encounter resistance from Chinese censors — “Platform,” which was banned from Chinese theaters, made Mr. Jia’s name there through pirated DVDs.

在20年的职业生涯里，贾樟柯令自己脱颖而出，成为中国当代电影界最奇特和最坚定的杰出导演之一。包括《站台》(2000)、《世界》(2004)和《天注定》(2013)在内，他的电影作品既饱含人道主义的同情，又敏锐地捕捉到社会变化对人际关系的影响。这些影片往往会遭遇来自中国审查机构的阻力——《站台》在中国被禁止上映，人们是通过看盗版DVD知道了贾樟柯。

The Brazilian director Walter Salles, whose work has somewhat similar themes to Mr. Jia’s, has produced an admiring documentary portrait of the filmmaker, “Jia Zhangke, a Guy From Fenyang,” shot a few years back when Mr. Jia was preparing “A Touch of Sin” for release in China, which was subsequently denied. It begins with Mr. Jia revisiting his hometown, Fenyang, in the Shanxi province of northern China, and looking at the now-ruined locations of his early films. He speaks with relatives and actors from the old days. A generous number of clips from Mr. Jia’s films accompany lengthy ruminations on their themes.

巴西导演瓦尔特·萨列斯(Walter Salles)的作品与贾樟柯的创作主题有些类似。他推出了一部充满赞赏意味的人物纪录片《汾阳小子贾樟柯》(Jia Zhangke, a Guy From Fenyang)。影片拍摄于几年前，当时贾樟柯正在为《天注定》在中国上映做努力，不过后来还是被禁。在纪录片的开头，贾樟柯再次回到自己位于华北省份山西的家乡汾阳，正在注视着自己最早拍电影、如今却已成废墟的地方。他和亲戚以及旧日的一些演员聊天。片中穿插着贾樟柯电影中的画面，同时伴随对这些影片主题的大段反思。

In certain great films about great filmmakers — Jacques Rivette’s “Jean Renoir, le Patron” or Chris Marker’s Tarkovsky portrait, “One Day in the Life of Andrei Arsenevich” — the presence of portrait-maker and subject can be felt equally. Mr. Salles keeps himself absent, and maintains a discreet distance from Mr. Jia’s private life — while Mr. Jia’s longtime lead actress, Zhao Tao, is interviewed, the film doesn’t disclose that she and Mr. Jia married in 2012. The movie’s most moving sequence is near the end, when Mr. Jia discusses his father, who faced awful hardships during the Cultural Revolution. In other respects, the movie is a decent and conscientious, though unremarkable, companion piece to Mr. Jia’s crucial films. Several of them will play at Anthology Film Archives during this documentary’s run, and all are recommended.

在一些以杰出电影人为主题的杰出影片中——雅克·里维特(Jacques Rivette)的《主事人让·雷诺阿》(Jean Renoir, le Patron)或克里斯·马克(Chris Marker)的《安德烈·塔科夫斯基的一天》(One Day in the Life of Andrei Arsenevich)——观众可以同等地感受到讲述人和讲述对象的存在。在这部纪录片里，萨列斯选择隐藏自己，并与贾樟柯的私人生活保持谨慎的距离——尽管长期担任贾樟柯影片女主角的赵涛在片中接受了采访，但片中并没有透露她和贾樟柯在2012年成婚。电影中最感人的段落出现在靠近片尾的地方，贾樟柯在谈论他的父亲，后者在文革期间经受了可怕的磨难。在其他方面，这部纪录片中规中矩、一丝不苟，构成了贾樟柯出色影片的注脚。尽管与它们相比，它显得有些平庸。在这部纪录片上映期间，贾樟柯的好几部作品也将在经典电影资料馆(Anthology Film Archives)放映，它们都很值得推荐。