重生之最佳电影人(解决你的影片荒，推荐2023年

来自英国影评人Nicholas Barber and Caryn James评选的2023年最佳的16个影片，赶紧收藏下来，解决你的影片荒～～

其中，有几个影片趣怪网小编都认为是很不错的，您怎么评价呢？

1. Saint Omer（圣奥梅尔）

This tough-minded, heart-breaking drama about race, class and motherhood as France's entry to last year's Oscar race, and I'm still mystified as to hy it asn't nominated. Alice Diop puts her experience making documentaries to good use, as she bases her story on the real-life case of a young Senegalese oman in France charged ith abandoning her baby on a beach to die. Diop invents Rama, a pregnant novelist ho goes to the ton of Saint Omer to itness the trial, hich plays into her on doubts and fears. As Laurence, the mother on trial, Guslagie Malanda is unnaturally calm, almost frozen in resignation. Kayije Kagame as Rama lets you see her mind racing and her heart pounding as she atches, even though her face is impassive. Diop based her dialogue on court transcripts, but the results go far beyond dry facts on the page to create an enthralling film ith to profound and vivid omen on screen. (CJ)

这部关于种族、阶级和母性的坚强、令人心碎的戏剧是法国参加去年奥斯卡角逐的，我仍然很困惑为什么它没有被提名。艾丽丝·迪奥普 (Alice Diop) 充分利用了自己制作纪录片的经验，她的故事以法国一名塞内加尔年轻妇女的真实案例为基础，她被控将婴儿遗弃在海滩上等。迪奥普创造了罗摩，一位怀孕的小说家，她前往圣奥马尔镇目睹审判，这引起了她自己的怀疑和恐惧。古斯拉吉·马兰达饰演受审的母亲劳伦斯，表现得异常平静，几乎陷入了听天由命的状态。卡伊杰·卡加梅（Kayije Kagame）饰演的罗摩（Rama）让你在观看时看到她的思绪飞速跳动，尽管她的表情冷漠。迪奥普的对话基于法庭笔录，但结果远远超出了纸上的枯燥事实，创造了一部引人入胜的电影，银幕上有两位深刻而生动的女性。（希杰）

2. Close（关闭）

Lucas Dhont follos his aard-inning debut, Girl, ith another delicate yet emotionally shattering ing-of-age drama that is so naturalistic you could mistake it for a fly-on-the-all documentary. Its heroes are Léo (Eden Dambrine) and Rémi (Gustav de Waele), to 13-year-old boys ho enjoy an intimate friendship in bucolic Belgium. But hen they enrol in a ne school, peer pressure stretches their relationship to breaking point. Superhumanly sensitive to the pains of being a teenager, Dhont understands that it doesn't take overt bullying to make young people feel as if they are under unbearable attack. The boys' clasates' casual questions are enough to change them forever. (NB)

卢卡斯·德霍特 (Lucas Dhont) 继他的获奖处女作《女孩》(Girl) 之后，又推出了另一部精致却又令人心碎的成长剧，这部剧是如此自然主义，你可能会误认为这是一部悬而未决的纪录片。它的英雄是莱奥（伊登·丹布林饰）和雷米（古斯塔夫·德瓦勒饰），这两个 13 岁的男孩在比利时的田园风光中有着亲密的友谊。但当他们进入一所新学校时，同侪压力将他们的关系推向了临界点。德霍特对青少年时期的痛苦有着超人的敏感，他明白，并不需要公开的欺凌行为就能让年轻人感到自己受到了难以忍受的攻击。男孩们同学不经意的问题足以永远改变他们。（注意）

3. John Wick: Chapter 4（疾速追杀第 4 章）

The latest instalment of the artful action-filled franchise ith Keanu Reeves as the assassin e root for has no petition for the year's best mainstream, mercial film so far. With a multi-million-dollar price on his head, Wick channels his inner James Bond, globe-trotting through Paris, Berlin and Osaka, trying to avoid being killed. This entry is bigger and splashier than the previous Wick entries, and director Chad Stahelski makes it every bit as visually stunning and entertaining, ith action full of martial arts, guns and sords. Reeves' likeable persona helps attach us to a character ho long ago lost count of the bodies he has sent on their ay. Ian McShane is ever a delight as Wick's urbane colleague, Winston, and the film gives us one more chance to see Lance Reddick, ho died recently, as the concierge, Charon. (CJ)

这部充满巧妙动作的系列电影的最新一期，由基努·里维斯饰演我们所支持的刺客，到目前为止，在年度最佳主流商业电影方面没有任何竞争者。威克的人头价值数百万美元，他释放了内心的詹姆斯·邦德，环游巴黎、柏林和大阪，试图避免被杀。这部作品比《威克》之前的作品更大、更引人注目，导演查德·斯塔赫斯基 (Chad Stahelski) 让它在视觉上令人惊叹且有趣，充满了武术、枪和剑的动作。里夫斯讨人喜欢的性格让我们对这个角色产生了共鸣，这个角色很久以前就忘记了他送来的尸体。伊恩·麦克肖恩（Ian McShane）饰演威克温文尔雅的同事温斯顿（Winston），这部电影让我们有机会看到最近去世的兰斯·雷迪克（Lance Reddick）饰演礼宾卡戎（Charon）。（希杰）

4. Holy Spider（圣蜘蛛）

Ali Abbasi's grisly Holy Spider is based on the true story of a married builder (Mehdi Bajestani) ho murdered 16 sex orkers in Iran's holy city of Mashhad in 2000 and 2001. Starring Zar Amir Ebrahimi (inner of the best actress aard at Cannes) as the determined journalist investigating the crimes, it seems at first to be an atmospheric panion piece to Silence of the Lambs and other big-screen serial-killer dramas. The provocative tist is that some citizens and politicians see the murderer as a local hero on a moral crusade. Behind the generic thrills, Holy Spider is an examination of society-ide misogyny that seems all the more astute in the ake of the Mahsa Amini protests. (NB)

阿里·阿巴西的恐怖《圣蜘蛛》改编自一名已婚建筑商（迈赫迪·巴杰斯塔尼饰）的真实故事，他于 2000 年和 2001 年在伊朗圣城马什哈德谋杀了 16 名性工作者。扎尔·阿米尔·易卜拉希米（戛纳电影节最佳女演员奖获得者）主演这部坚定的记者调查犯罪的故事，乍一看似乎是《沉默的羔羊》和其他大银幕连环杀手剧的大气姊妹篇。具有挑衅性的转折是，一些公民和政客将凶手视为当地道德十字的英雄。在一般的刺激背后，《圣蜘蛛》是对整个社会的厌女症的审视，在马赫萨·阿米尼抗议之后，这种现象似乎变得更加敏锐。（注意）

5. The Worst Ones（最糟糕的）

Sometimes non-professional actors can seem extremely unnatural on screen, but the opposite is true in this sharp, serious yet light-handed fiction about children and adolescents in a run-don neighbourhood in northern France. The conceit of the meta-drama is that real students are being recruited to play fictional variations of their on stories on screen. That is exactly the process the directors Lise Akoka and Romane Gueret, former casting directors, employed in making The Worst Ones, hose title refers to the bad reputation of the kids ho are cast. The to children and to adolescents ho star here are captivating, ith built-in screen presence, as they deal ith and laugh at the callous, middle-aged man directing them. Winner of the top prize in the Un Certain Regard section at Cannes last year, The Worst Ones has an unpretentious ease yet bees a thoughtful look at the exploitation and voyeuri of filming real lives. (CJ)

有时，非专业演员在银幕上显得极其不自然，但在这部关于法国北部破败社区的儿童和青少年的尖锐、严肃而轻松的小说中，情况恰恰相反。元戏剧的想法是，招募真正的学生在屏幕上扮演他们自己故事的虚构版本。这正是前选角导演莉斯·阿科卡 (Lise Akoka) 和罗曼·盖雷 (Romane Gueret) 在制作《最坏的孩子》时所采用的过程，该片的标题指的是被选角的孩子们的坏名声。片中主演的两个孩子和两个青少年非常迷人，他们与指导他们的冷酷中年男子打交道并嘲笑他们，他们的银幕形象十分迷人。去年戛纳电影节“一种注目”单元最高奖获得者，《最糟糕的人》有一种朴实无华的轻松感，但却对拍摄现实生活中的剥削和偷窥行为进行了深思熟虑的审视。（希杰）

6. EO

When a Polish circus is shut don, one of its performers, a donkey, is sent to live in an equestrian centre. But he doesn't stay there for long. Instead, our long-eared hero trots across Europe, through a series of different episodes in different genres, as if he is guest-starring in a variety of other films. What unites his picaresque adventures, hich ere inspired by Robert Bresson's Au Hasard Balthazar, is their anguish at man's inhumanity to man (and man's inhumanity to donkey), and their startlingly psychedelic cameraork, editing and music. Jerzy Skolimoski, the director of EO, might be 84, but he has never been more engaged or energetic. We on't see another film this year that is so extravagantly bizarre, yet so seet, loving, and mischievous. (NB)

当波兰马戏团被关闭时，其表演者之一，一头驴，被送往马术中心居住。但他并没有在那里呆太久。相反，我们的长耳英雄小跑穿越欧洲，经历了一系列不同类型的不同剧集，就好像他在其他各种电影中客串出演一样。他的流浪汉冒险故事的灵感来自罗伯特·布列松的奥·哈萨德·巴尔萨扎，他们对人类对人类的不人道行为（以及人类对驴子的不人道行为）的痛苦，以及令人震惊的迷幻摄影、剪辑和音乐。EO 总监耶日·斯科利莫夫斯基 (Jerzy Skolimoski) 已经 84 岁了，但他从未像现在这样忙碌、精力充沛。今年我们不会再看到另一部如此离奇却又如此甜蜜、充满爱和调皮的电影了。（注意）

7. Return to Seoul（返回首尔）

Davy Chou's all-scale film is deceptively ordinary in its premise. Freddie, a Korean oman in her mid-20s ho as adopted as an infant and raised in France, travels to Seoul and reluctantly looks for her birth parents. But as it goes on, the story leaps ahead to years, then five, and depicts Freddie's morphing sense of identity in unexpected, thoroughly convincing turns. Is she French or Korean; is her look that of a grunge student or a glam businessoman; does she ant to find her mother or not? Park Ji-Min is vibrant and keeps us off-guard as Freddie, and Chou offers a fresh and bracing style. He sets the story in ordinary spaces – narro streets, offices, restaurants – ith a polished look and intimate feel. The original English title better captures the film's exciting sirl of identity: All the People I'll Never Be. (CJ)

周大卫这部小规模电影的前提看似平凡。弗雷迪 (Freddie) 是一名 20 多岁的韩国女性，婴儿时被收养并在法国长大，她前往首尔，不情愿地寻找她的亲生父母。但随着故事的发展，故事向前推进了两年，然后是五年，并以意想不到的、完全令人信服的转折描绘了弗雷迪不断变化的身份感。她是法国人还是韩国人？她的外表是垃圾摇滚学生还是迷人的女商人？她到底想不想找妈妈？朴智旻充满活力，饰演弗雷迪，让我们措手不及，而周则提供了清新而令人振奋的风格。他将故事背景设定在普通的空间——狭窄的街道、办公室、餐馆——有着精致的外观和亲密的感觉。原版英文片名更好地体现了影片令人兴奋的身份漩涡所有我永远不会成为的人。（希杰）

8. Infinity Pool（无边泳池）

The latest entry in the burgeoning "rich people have a bad time on an island" sub-genre, Infinity Pool shimmers ith reflections of Triangle of Sadness, Menu and Glass Onion, although it's murkier and more toxic than any of them. Alexander Skarsgård stars as a struggling author ho visits an exclusive beach resort ith his ealthy ife. He discovers too late that the country has a policy of immediate execution for certain crimes, and his holiday from hell gets bloodier, and more ja-droppingly strange, from then on. It's true that both the character and the film lose their ay, but this hirlpool of extreme cinema proves that its co-star, Mia Goth (ho is just as impressive in Pearl), is one of the most extraordinary actresses of her generation, and that its riter-director, Brandon Cronenberg, is talented enough in his on right that e should probably stop paring him to his dad, David Cronenberg. (NB)

新兴的“富人在岛上过得很糟糕”子流派的最新作品，无边际泳池闪烁着悲伤三角、菜单和玻璃洋葱的倒影，尽管它比它们中的任何一个都更阴暗、更有。亚历山大·斯卡斯加德 (Alexander Skarsgård) 饰演一位苦苦挣扎的作家，与富有的妻子一起参观了一个独特的海滩度假村。他发现国家对某些犯罪行为实行立即处决的政策时已经太晚了，从那时起，他的地狱假期变得更加腥，也更加令人瞠目结舌。确实，角色和电影都迷失了方向，但这种极端电影的漩涡证明了它的联合主演米娅·高斯（她在《珍珠》中同样令人印象深刻）是她这一代人中最非凡的女演员之一，并且该剧的编剧兼导演布兰登·柯南伯格本身就很有才华，我们可能不应该再将他与他的父亲大卫·柯南伯格进行比较。（注意）

9. Polite Society（礼貌社会）

A culture clash edy of manners ith a horror meme tist, Nida Manzoor's (We are Lady Parts) film is one of the freshest, most fun-to-atch of the year. Manzoor's first inventive choice is to create an unlikely teenage heroine, Ria (Priya Kansara), a London girl of Pakistani descent, ho is determined to bee a stuntoman, adding martial arts flair and action to the movie. Then Manzoor ramps up the stakes, hen Ria's older sister decides to marry a rich, handsome man hom Ria suspects is not hat he seems. His over-the-top, controlling mother has a sinister ile orthy of a Disney villain. As the outlandish elements pile on, the film gleefully blends all its elements, from Ria's ic schemes to thart the edding, to her Bollyood-ready dance scene and nuanced portraits of her understanding parents, creating a art and thoroughly enjoyable romp.

奈达·曼祖尔（Nida Manzoor）的《我们是淑女》（We are Lady Parts）电影是一部文化冲突礼仪喜剧，带有恐怖模因扭曲，是今年最新鲜、最有趣的电影之一。曼祖尔的第一个创造性选择是创造了一个不太可能的青少年女主人公，莉亚（Priya Kansara），一个巴基斯坦裔的伦敦女孩，她决心成为一名特技演员，为电影增添武术天赋和动作。然后，曼祖尔加大了赌注，瑞亚的姐姐决定嫁给一个富有、英俊的男人，瑞亚怀疑他并不像他看上去的那样。他的母亲控制欲极强，脸上带着邪恶的笑容，堪比迪士尼反派。随着稀奇古怪的元素层出不穷，影片愉快地融合了所有元素，从莉亚阻碍婚礼的喜剧计划，到她宝莱坞般的舞蹈场景，以及对她善解人意的父母的细致入微的描绘，创造了一场聪明而彻底令人愉快的欢闹。（希杰）

10. Ho to Blo Up a Pipeline（如何炸毁管道）

Inspired by Andreas Malm's non-fiction book, this unbearably tense indie thriller introduces a rag-tag group of eco-activists ho are planning to bomb an oil pipeline in West Texas. They have all been hurt by pollution, corporate greed, and the climate crisis, and this, they believe, is the only ay they can fight back. Cutting beteen their nervous preparations and the back stories that led them to Texas, Daniel Goldhaber's tightly focused film echoes several classic heist movies – Reservoir Dogs in particular – but it has some crucial differences. The criminals aren't motivated by greed, the details of their amateur bomb-making are fascinatingly specific, and, because they are handling explosive chemicals, they are alays in danger of killing themselves by accident. (NB)

这部令人难以忍受的紧张独立惊悚片受到安德烈亚斯·马尔姆的非小说类书籍的启发，介绍了一群乌合之众的生态活动家，他们计划炸毁西德克萨斯州的一条石油管道。他们都受到了污染、企业贪婪和气候危机的伤害，他们相信，这是他们反击的唯一途径。丹尼尔·戈德哈伯这部聚焦重点的影片将他们紧张的准备工作和引导他们前往德克萨斯州的背景故事切入，与几部经典劫电影（尤其是《落水狗》）相呼应，但也有一些关键的区别。犯罪分子的动机并不是贪婪，他们业余制造炸弹的细节非常具体，而且由于他们处理的是爆炸性化学品，他们总是面临意外自杀的危险。（注意）

11. Shoing Up（出现）

Michelle Williams and Hong Chau, both Oscar nominees from last season, star in Kelly Reichardt's slice-of-an-artist's-life, set at an art college in Portland, Oregon. Williams plays Lizzy, ho orks in the college office by day and in her on time creates modest, lovely clay figures of omen in slightly contorted poses. Chau adds humor as her self-absorbed neighbour and landlord, ho creates room-sized installations. As they both prepare for their openings, Lizzy also grapples ith her omanising father (Judd Hirsch) and emotionally troubled brother (John Magaro). Williams has starred in some of Reichardt's best films, including Wendy and Lucy and Meek's Cutoff, and she creates another vivid, richly developed character here, an ordinary oman ithout ild dreams of fame, ho is simply devoted to art as a ay of life. Reichardt's films are sometimes painstakingly slo, but the absorbing, light-handed Shoing Up is a happy exception. (CJ)

米歇尔·威廉姆斯和洪洲都是上一季的奥斯卡提名者，他们在凯莉·雷查特的艺术家生活片段中担任主角，故事发生在俄勒冈州波特兰市的一所艺术学院。威廉姆斯扮演莉兹，她白天在大学办公室工作，业余时间则创作朴素、可爱的女性粘土雕像，姿势略有扭曲。周在饰演她的邻居和房东时增添了幽默感，她创造了房间大小的装置。当他们都在为开业做准备时，丽兹还与她好色的父亲（贾德·赫希饰）和情绪困扰的弟弟（约翰·马加罗饰）进行了斗争。威廉姆斯主演了雷查特的一些最好的电影，包括《温迪和露西》和《米克的断线》，她在这里塑造了另一个生动、丰富的角色，一个没有疯狂的成名梦想的普通女人，她只是将艺术作为一种生活方式。雷查特的电影有时节奏极其缓慢，但引人入胜、轻松自如的《现身》却是一个令人高兴的例外。（希杰）

12. Suzume（铃目）

Suzume is a teenage schoolgirl ho discovers that the derelict doors in abandoned tons all over Japan can be used as portals to another dimension. No it's up to her to stop a destructive monster getting through those doors, ith the help of a boy ho has been turned into a chair, and a talking kitten that could ell be a goddess. Yes, the apocalyptic ne anime from Makoto Shinkai (Your Name, Weathering ith You) is a dazzling feat of imagination, but the riter-director balances magical fantasy ith armth, humour and deep concern for his country. Suzume's mythical exploits are set in a gorgeously painted, recognisable Japan, and she and her friends are ordinary people ith ordinary hopes and regrets – and that includes the boy ho's been turned into a chair. (NB)

铃目是一名十几岁的女学生，她发现日本各地废弃城镇中的废弃门可以用作通往另一个维度的门户。现在，她需要在一个变成椅子的男孩和一只很可能成为女神的会说话的小猫的帮助下，阻止一个破坏性的怪物穿过这些门。是的，新海诚（《你的名字》、《天气之子》）的这部末日新动画是一个令人眼花缭乱的想象力壮举，但编剧兼导演在魔幻幻想与温暖、幽默和对国家的深切关怀之间取得了平衡。铃梅的神话事迹发生在一个色彩绚丽、辨识度高的日本，她和她的朋友们都是普通人，有着普通的趣怪网希望和遗憾——其中包括那个被变成椅子的男孩。（注意）

13. Past Lives（前世）

Celine Song's lovely, nuanced first feature is a romance that rejects the clichés of the genre. Nora (Greta Lee) and Hae Sung (Teo Yoo) ere best friends, closely bonded forever as children in Korea, until her family immigrated to Canada. Years later, hen she is married and living in Ne York, he re-enters her life. Their reconnection is at first avering, and their meeting in Ne York full of deep feeling along ith sharp reali, as the film recognises both the allure of a long-ago love for Nora, and the strength of her marriage to Arthur (John Magaro). Through Nora and Hae Sung's deftly portrayed relationship, Song also unveils themes of memory and cultural identity, but it is the love story that dominates and lingers, demonstrating that romance doesn't alays lead to a kiss in the rain. Sometimes it is rapped in a beautiful istfulness. (CJ)

席琳·宋（Celine Song）可爱而细致的第一部故事片是一部拒绝这种类型陈词滥调的浪漫故事。诺拉（格蕾塔·李饰）和海成（张裕饰）是最好的朋友，小时候在韩国就一直保持着密切的关系，直到她的家人移民到加拿大。多年后，当她结婚并住在纽约时，他重新进入了她的生活。他们的重新联系一开始是摇摆不定的，他们在纽约的会面充满了深厚的感情和尖锐的现实主义，因为这部电影既认识到了诺拉很久以前的爱情的魅力，也认识到了她与亚瑟（约翰·马加罗饰）婚姻的力量。 。通过诺拉和海成巧妙地描绘的关系，宋还揭示了记忆和文化身份的主题，但主导和挥之不去的是爱情故事，表明浪漫并不总是带来雨中之吻。有时它包裹着美丽的渴望。（希杰）

14. Broker（经纪人）

Broker is as bitterseet and nuanced as the previous films from Hirokazu Kore-eda (Shoplifters), but it's also his funniest, most crod-pleasing ork: the Japanese riter-director's first Korean production is a romantic road movie reminiscent of Little Miss Sunshine as ell as the Coen brothers' crime capers. Song Kang Ho from Parasite plays a Busan launderette oner ith an unusual side hustle. With the aid of a big-hearted sidekick, he sells unanted infants to couples ho ant to circumvent the legal adoption process, but only after he's satisfied that they are the ideal parents for the child. When one infant's birth mother ants to get involved in the business, and to police detectives start folloing them, secret motives are revealed, sympathies shift, mysteries deepen and dangers multiply, all the ay to the poignant, elegantly plotted finale. (NB)

《经纪人》与是枝裕和（《小偷家族》）之前的电影一样苦乐参半、微妙，但这也是他最有趣、最讨人喜欢的作品这位日本编剧兼导演的首部韩国作品是一部浪漫的公路电影，让人想起《阳光小美女》以及科恩兄弟的犯罪故事。《寄生虫》中的宋康昊饰演一位釜山自助洗衣店老板，有着不寻常的副业。在一位心胸宽广的助手的帮助下，他将不想要的婴儿卖给想要规避合法收养程序的夫妇，但前提是他确信他们是孩子的理想父母。当一名婴儿的生母想要介入此事，两名警探开始跟踪他们时，秘密动机被揭露，同情心发生转变，谜团加深，危险成倍增加，一切都令人心酸，结局设计优雅。（注意）

15. The Lesson（教训）

Richard E Grant plays a famous but fading British novelist, Julie Delpy is his unhappy ife and Daryl McCormack is the young ould-be novelist ho es to stay at their glorious country house to tutor their teenaged son. You might think you kno here this story is going, but the director Alice Troughton and riter Alex MacKeith take unexpected turns in a tisty noir about betrayal, revenge and ambition. The three lead actors are at their unsurmountable best, keeping us off guard. And Troughton's stylistic approach is brilliant. She gives the film an enticing, light-filled beauty – rolling lans and a house filled ith dazzling contemporary art – even as the characters' hidden agendas and secrets are shon to be darker and more devastating than that beautiful surface ould suggest. Troughton has directed television for years (including episodes of British ar thriller Baghdad Central) and her first feature is a self-assured triumph. (CJ)

理查德·E·格兰特（Richard E Grant）饰演一位著名但日渐衰落的英国小说家，朱莉·德尔佩（Julie Delpy）饰演他不幸的妻子，达里尔·麦考马克（Daryl McCormack）饰演一位年轻的准小说家，来到他们辉煌的乡间别墅辅导他们十几岁的儿子。你可能认为你知道这个故事的走向，但导演爱丽丝·特劳顿和编剧亚历克斯·麦基斯在这部关于背叛、复仇和野心的曲折黑色电影中出现了意想不到的转折。三位主演的演技堪称巅峰，让我们措手不及。特劳顿的风格方法非常出色。她赋予影片一种诱人的、充满阳光的美感——起伏的草坪和充满令人眼花缭乱的当代艺术的房子——尽管角色隐藏的议程和秘密比美丽的表面所暗示的更黑暗、更具破坏性。特劳顿多年来一直执导电视节目（包括英国战争惊悚片《巴格达中央》的剧集），她的第一部长片就是一部自信的胜利。（希杰）

16. Reality（现实）

In June 2017, FBI agents visited the home of Reality Winner (her real name, unlikely as it may seem), a US Government translator ho had leaked a classified document to the press. Tina Satter's ingenious debut film dramatises their encounter, ith Sydney Seeney in the lead role, and dialogue taken holesale from recordings made at the time. What this means is that the lo-key interrogation has the repetitions and hesitations of actual speech, hich makes Reality seem close to reality (one of several ays that the title applies), yet also eirdly nightmarish. It's somehere beteen an art installation, a documentary, and a nerve-racking horror movie. Some nes outlets branded Winner a treacherous radical, yet Satter's haunting film depicts a vulnerable, confused, but brave young oman ho is trapped in a bare hite room ith to men tice her size. (NB)

2017 年 6 月，联邦调查局特工拜访了现实赢家（她的真名，虽然看起来不太可能）的家，她是一名美国政府翻译，向媒体泄露了一份机密文件。蒂娜·萨特 (Tina Satter) 巧妙的处女作以西德尼·斯威尼 (Sydney Seeney) 为主角，戏剧化地讲述了他们的相遇，对话大量取自当时的录音。这意味着低调的审讯带有实际言语的重复和犹豫，这使得现实看起来很接近现实（标题应用的几种方式之一），但也奇怪地噩梦般。它介于艺术装置、纪录片和令人伤脑筋的恐怖电影之间。一些新闻媒体将温纳称为诈的激进分子，但萨特令人难忘的电影描绘了一个脆弱、困惑、但勇敢的年轻女子被困在一间光秃秃的白色房间里，身边还有两个比她大两倍的男人。