摘要：There's an idea that's suggested in this movie that I've always seen as the perfect encapsulation of Malick's cinematic sensibilit
The Thin Red Line, directed by Terrence Malick.
《细细的红线》，由特伦斯·马力克执导。
There's an idea that's suggested in this movie that I've always seen as the perfect encapsulation of Malick's cinematic sensibilities, which is that humanity has one big soul that everyone's a part of, that we're all just different faces of the same being.
在这部电影中有一个想法，我一直认为它完美地概括了马力克的电影感性，那就是人类有一个巨大的灵魂，每个人都是其中的一部分，我们只是同一存在的不同面孔。
Whether he truly believes it or not, it certainly feels like that's the premise at the heart of his presentation.
无论他是否真的相信这一点，这无疑是他作品核心的前提。
Everyone looking for salvation by himself.
每个人都在独自寻找救赎。
To watch a Terrence Malick movie is to inhabit the inner worlds of multiple characters as they pontificate on their lives and the meaning of their being.
观看特伦斯·马力克的电影就是进入多个角色的内心世界，他们沉思着自己的生活和存在的意义。
It is to float around creation, to leap across time, into memory and imagination, as if all is mysteriously entangled with each other.
这就像是在创造中漂浮，跨越时间，进入记忆和想象，仿佛一切都神秘地交织在一起。
And it's this idea, this notion of the universe experiencing itself, that I think is also the key ingredient that makes The Thin Red Line work so well as an anti-war movie, because if all is connected, if we really are one big soul, what this means is that when we're hurting each other, we're also hurting ourselves.
而正是这个想法，这种宇宙体验自身的概念，我认为也是《细细的红线》作为反战电影如此成功的关键成分，因为如果一切都是相连的，如果我们真的是一个巨大的灵魂，这意味着当我们伤害彼此时，我们也在伤害自己。
Set in the Pacific theatre of the Second World War, The Thin Red Line juxtaposes the violent clashes between the American and Japanese forces with the serene beauty of nature.
《细细的红线》设定在第二次世界大战的太平洋战场，将美日军队之间的暴力冲突与大自然的宁静之美并置。
We meet Private Witt here as he, with some fellow soldiers, has gone AWOL to hang out with a tribe of native people.
我们在这里遇到了威特士兵，他和一些战友一起擅离职守，与一群土著人生活在一起。
It's a brief glimpse of paradise, human beings living in harmony with each other and being nurtured by the world around them.
这是对天堂的短暂一瞥，人类和谐相处，并受到周围世界的滋养。
As the war eventually catches up with them, the conflict that follows has an almost unnatural feel to it, as if humanity is somehow diverging from its natural state.
当战争最终追上他们时，随之而来的冲突几乎有一种不自然的感觉，仿佛人类在某种程度上偏离了其自然状态。
Though one can wonder, as Malick also does later on, if the distinction is really as simple as that.
尽管人们可能会怀疑——正如马利克后来所做的那样——这种区别是否真的如此简单。
When we get deeper into the jungle, where we see different plants and trees vying with each other for light and nutrients, and where predators are always stalking for prey, it becomes evident that violence and cruelty are embedded within this place too, at least to some extent.
当我们深入丛林时，我们看到不同的植物和树木相互争夺光线和养分，捕食者总是在那里跟踪猎物，很明显，暴力和残忍也嵌入了这个地方——至少在某种程度上如此。
What's this war in the heart of nature?
这是什么在自然之心的战争？
It raises the conflict to a more existential level, surpassing the specific historical context to offer a deeper meditation on the metaphysics of war — this great evil, as one character asks, where does it come from?
它将冲突提升到一个更存在主义的层面，超越特定的历史背景，提供对战争形而上学的更深沉思——这种巨大邪恶，正如一个角色所问，它从何而来？
Is there an avenging power in nature?
自然中是否存在一种复仇的力量？
Not one power, but two?
不是一种力量，而是两种？
Why give us that glimpse of what we might have known, only to ruin it before our very eyes?
为什么给我们一瞥我们可能知道的东西，却在我们眼前毁掉它？
What difference you think you can make?
你认为你能做出什么不同？
One single man in all this madness.
这一切疯狂中只有一个人。
But as despairing as these musings might be, Malick also knows how to turn them around, and refocus on that other force that is also there within nature and within us, and which might be the stronger one in the end.
但尽管这些思考可能令人绝望，马力克也知道如何扭转它们，并重新聚焦于自然和我们内在的另一种力量，这种力量最终可能是更强大的。
For love, as another character observes, cannot be extinguished by war, cannot be conquered.
因为爱——正如另一个角色所观察到的——不能被战争熄灭，不能被征服。
This then, might be the real question, the real challenge: how do we stay connected to that power, to that beauty, that calm hidden beneath the raging surface?
那么，这可能是真正的问题，真正的挑战：我们如何保持与那种力量的联系，与那种美丽的联系，那种隐藏在狂暴表面下的宁静？
If we are all part of one big soul, can we find our way back to it, live inside of it again?
如果我们都是一个巨大灵魂的一部分，我们能找到回到它的路，再次生活在其中吗？
The answer, to me at least, is best answered by the movie's most disillusioned character, a man firmly existing in the profane world, who towards the end, does connect to some deeper longing, some connection to a greater beauty, a greater peace, that must be out there somewhere, even if he cannot immediately find it.
对我来说，答案最好由电影中最幻灭的角色来回答，一个坚定地存在于世俗世界的人，他在结尾时确实与某种更深的渴望联系在一起，与某种更大的美丽、更大的和平联系在一起，这一定在某个地方，即使他不能立即找到它。
"If I never meet you in this life," he says, "let me feel the lack; a glance from your eyes, and my life will be yours." Part VII: Justice With the darker side of the human condition, there is inevitably the question of justice.
“如果我在此生中从未遇见你，”他说，“让我感受缺失；你眼中的一瞥，我的生命将属于你。”第七部分：正义在人类状况的阴暗面，不可避免地会出现正义的问题。
Where do we draw the line between right and wrong, and how do we, as individuals and as a society, ensure the former succeeds over the latter?
我们在哪里划定对错的界限，作为个人和社会，我们如何确保前者战胜后者？
The question is as old as philosophy itself, and it is clear that we have found no definitive answers.
这个问题和哲学本身一样古老，很明显我们没有找到明确的答案。
Yet, we can explore the complexities, and get a better understanding of why and how the issue of justice is woven so deeply into the fabric of our being.
然而，我们可以探索复杂性，更好地理解为什么和如何正义的问题如此深深地编织在我们的存在结构中。
12 Angry Man, directed by Sidney Lumet.
《十二怒汉》，由西德尼·吕美特执导。
A premise brilliant in its simplicity: a young man is on trial for a seemingly clear-cut murder case.
一个简单而精彩的前提：一个年轻人因一桩看似简单的谋杀案受审。
The 12 men of the jury convene, confident they'll reach a quick and unanimous verdict.
陪审团的 12 名成员聚集在一起，自信地认为他们会迅速达成一致的判决。
One of them, however, isn't so sure.
然而，其中一人并不那么确定。
And it's his seed of doubt, that will not only set in motion the main conflict of the movie as it causes the titular angry men to start hashing it out, but also that which slowly but surely transforms this otherwise straightforward courtroom drama into one of the finest cinematic examinations of justice, prejudice and moral integrity ever made.
正是他的怀疑种子，不仅引发了电影的主要冲突，使得标题中的愤怒男人们开始争论不休，而且也慢慢但肯定地将这部本来简单的法庭剧转变为有史以来对正义、偏见和道德完整性最精细的电影考察之一。
Then what do you want? – I just want to talk.
那你想要什么？- 我只是想谈谈。
Lumet clearly lays out the stakes as the lone dissenter, juror but that based on the provided evidence, he simply doesn't feel confident in determining guilt beyond a reasonable doubt, which after all, is what the American justice system demands in these decisions.
#8, explains in no ambiguous terms that he is not arguing for the defendant's innocence;吕美特清楚地阐明了利害关系，作为唯一的异议者，陪审员 8 号毫不含糊地解释说，他并不是在为被告的无罪辩护；而是基于提供的证据，他只是对在合理怀疑之外确定有罪没有信心，毕竟，这正是美国司法系统在这些决定中所要求的。
It brings attention to the institution in its entirety, and the clash between its aspirations towards objective, impersonal and well-reasoned judgements, and the reality of what happens when its execution is ultimately placed in the hands of people who are, well, not built for that, or at least not without seriously challenging the other aspects of their being.
它引起了对整个制度的关注，以及其对客观、无偏见和合理判断的追求与当其执行最终交由那些并不适合，或者至少在不严重挑战其存在的其他方面的人的手中时所发生的现实之间的冲突。
Our tendency towards groupthink is first on the chopping block as
#8 indirectly reveals how easily other jurors went along with the proposed guilty verdict simply because it was the safe majority opinion.我们的群体思维倾向首先被揭露，8 号间接揭示了其他陪审员是多么容易地仅仅因为这是安全的多数意见而同意了提议的有罪判决。
Come on, nobody can know a thing like that, this isn't an exact science.
拜托，没人能知道这样的事情，这不是一门精确的科学。
That's right, it isn't.
没错，它不是。
It's one of those things that has arguably only become more relevant in our current social landscape, the ease with which we surrender our own critical thinking and opinions just to fit in with our desired tribe.
这是在我们当前社会环境中可能变得更加相关的事情之一，我们轻易地放弃自己的批判性思维和意见，只是为了融入我们所希望的群体。
But as 12 Angry Men also so famously shows, the issue goes deeper than this.
但正如《十二怒汉》也如此著名地展示的那样，问题比这更深。
As individuals, our perception and reasoning is fundamentally clouded by emotions and prejudices, which in some of the jurors, rise painfully to the surface as
#8's case for reasonable doubt grows stronger.作为个体，我们的感知和推理基本上被情感和偏见所蒙蔽，在一些陪审员中，随着 8 号提出合理怀疑的理由越来越强烈，这些情感和偏见痛苦地浮出水面。
Coming from a variety of different backgrounds, experiences, and values, each of the jurors represent a different cross-section of society, and therefore bring different biases to the table that have them falsely believing, or rather, wanting to believe, in the guilt of the defendant, irrespective of the arguments supporting the contrary.
每个陪审员来自不同的背景、经历和价值观，代表了不同的社会阶层，因此带来了不同的偏见，使他们错误地相信，或者更确切地说，想要相信被告有罪，而不顾支持相反观点的论据。
As the debate heats up on this already hot day, Lumet beautifully makes the room the entire movie takes place in feel more claustrophobic, as if with each scene, the walls move in a little closer.
随着辩论在这个已经炎热的日子里升温，吕美特巧妙地让整个电影发生的房间感觉更加幽闭，仿佛每个场景中墙壁都在慢慢靠近。
His camerawork has also been widely praised here as the slow transition from wide angles into tight close-ups still stands as one of the prime examples of commanding tone through cinematography.
他的摄像技术在这里也得到了广泛赞誉，因为从广角到紧密特写的缓慢过渡仍然是通过摄影掌控基调的典范之一。
Indeed, everything about 12 Angry Men comes together for its pitch-perfect deconstruction of the American justice system, the people being subjected to its procedures, and those burdened with the task of judgement; a task which, as Lumet seems to want to convey, demands a greater responsibility than it initially seems, and might reveal more about ourselves than we were willing to face.
确实，《十二怒汉》的一切都汇聚在一起，完美地解构了美国司法系统、被其程序所影响的人们，以及那些肩负判断任务的人；正如吕美特似乎想要传达的，这项任务要求比最初看起来更大的责任，并可能揭示出我们自己不愿面对的更多东西。
Judgment at Nuremberg, directed by Stanley Kramer.
《纽伦堡的审判》，由斯坦利·克雷默执导。
The true account of the landmark trial held by the Allies against various representatives of Nazi Germany after the Second World War, in this case: four German judges who once enforced Nazi laws, sentencing countless innocents to death and oppression.
这是二战后盟军对纳粹德国的多名代表进行的标志性审判的真实记录，在这个案例中：四名曾执行纳粹法律的德国法官，判处无数无辜者死刑和压迫。
The tribunal is now in session.
法庭现在开庭。
God bless the United States and his honorable tribunal.
愿上帝保佑美利坚合众国及其尊敬的法庭。
While presented in the trappings of a gripping courtroom drama, which it is, Judgment at Nuremberg is also a profound exploration of complicity, moral compromise, and the capacity for ordinary people to commit or condone unspeakable acts under the guise of a myriad of rationalizations and excuses; not so much to condemn those on trial, as if the idea is to close a dark chapter of history and to let us exit the movie feeling righteous and morally elevated, but more so to really consider the crimes of these individuals as those that could have been committed by anyone; to really explore the banality of evil as it still exists today in our societies, our interrelationships, and in ourselves.
虽然以扣人心弦的法庭剧形式呈现，但《纽伦堡的审判》也是对共谋、道德妥协以及普通人在各种合理化和借口的幌子下实施或纵容不可言说行为的能力的深刻探索；并不是为了谴责那些受审者，仿佛是为了关闭历史的黑暗篇章，让我们在电影结束时感到正义和道德的提升，而是为了真正考虑这些个人的罪行是任何人都可能犯下的；真正探索今天仍然存在于我们社会、我们的人际关系以及我们自身中的平庸之恶。
Overseeing the trial is Judge Dan Haywood, an American jurist grappling with the weight of his task.
主持审判的是丹·海伍德，一位美国法官，正在努力应对其任务的重担。
His perspective and general worldview, grounded in a sense of ethical responsibility, is immediately contrasted with a much more complicated political landscape.
他的视角和总体世界观，基于一种伦理责任感，立即与一个更复杂的政治环境形成对比。
The Nuremberg trials were controversial from the beginning for a variety of reasons.
纽伦堡审判从一开始就因各种原因而具有争议。
As Haywood also remarks at one point, all the most important leaders of the Nazi regime were already gone, killed themselves before they could be hanged.
正如海伍德在某个时刻所说，纳粹政权中所有最重要的领导人都已经不在了，他们在被绞死之前自杀了。
Now we're down to the business of judging the doctors, businessmen, and judges.
现在我们要审判的是医生、商人和法官。
Some people think they shouldn't be judged at all.
有些人认为他们根本不应该被审判。
Moreover, The United States, now slipping into the Cold War, finds itself reluctant to alienate West Germany and its people; a pragmatic consideration that complicates the mission of the tribunal.
此外，美国现在正滑入冷战，不愿疏远西德及其人民；这一务实的考虑使法庭的任务变得复杂。
And it's this external pressure, coupled with the defendants' insistence that they were merely following their duty, merely carrying out the law, that forces Haywood and by extension the audience to confront those most painful questions: to what extent are individuals responsible for actions carried out under state orders?
正是这种外部压力，加上被告坚持认为他们只是履行职责，只是执行法律，迫使海伍德以及观众面对那些最痛苦的问题：个人在多大程度上对在国家命令下执行的行为负责？
To what extent can we claim innocence within a violent regime, separate our conscience from the world that we are intrinsically a part of?
在一个暴力政权中，我们在多大程度上可以声称无辜，将我们的良知与我们本质上是其一部分的世界分开？
If we did know, what could we do?
如果我们知道，我们能做什么？
These almost existential musings on responsibility and justice are given an extraordinary weight by being framed within a devastating context.
这些几乎存在主义的关于责任和正义的思考，通过在一个毁灭性的背景中被框定而赋予了非凡的重量。
For the trials at Nuremberg didn't merely serve to convict a few individuals, but also to collect and organize irrefutable evidence of all the crimes against humanity committed by the Nazi's.
因为纽伦堡审判不仅仅是为了定罪几个人，还为了收集和组织纳粹犯下的所有反人类罪行的无可辩驳的证据。
It provides the set-up for one of the most haunting sequences I've ever seen: a simple presentation, detailing in clear, factual language, with actual historical footage, the reality of the concentration camps.
这为我见过的最令人难忘的场景之一提供了背景：一个简单的展示，用清晰、事实性的语言，结合实际的历史影像，详细描述了集中营的现实。
The map shows the number of and location of concentration camps under the Third Reich.
地图显示了第三帝国下集中营的数量和位置。
While sparking a natural outrage over those who actively participated in this genocidal effort, the more compelling accusation, to me at least, is the one that is leveled towards those who knew but did nothing, those who allowed great atrocities to happen not through their actions, but through their silence.
虽然对那些积极参与这场种族灭绝努力的人引发了自然的愤怒，但对我来说，更具吸引力的指控是针对那些知道但无所作为的人，那些通过沉默而不是行动，任由巨大暴行发生的人。
It's a sentiment that I think transcends the era in which the film is set, and that might even be more relevant than ever as a reminder of the need for moral courage, for eternal vigilance against corrupting forces, and for individuals to hold themselves to higher standards than those set by the world around them.
我认为这是一种超越电影设定时代的情感，可能比以往任何时候都更具相关性，提醒我们需要道德勇气，永远警惕腐败势力，以及个人要对自己提出比周围世界更高的标准。
Harakiri, directed by Masaki Kobayashi.
《切腹》，由小林正树执导。
Whenever virtues are codified into a creed, they also become externalized; the individual no longer just following his own moral compass, but also that of a collective, of an institution.
每当美德被编纂成信条时，它们也会被外化；个人不再仅仅遵循自己的道德指南针，而是遵循集体、机构的道德指南针。
An important act, generating brotherhood, purpose, and honor, and laying the foundations for mutually acknowledged norms and systems of justice.
一个重要的行为，产生兄弟情谊、目标和荣誉，并为相互承认的规范和正义系统奠定基础。
But as Kobayashi demonstrates here with his critique of the samurai culture, sometimes these institutions can take on a life of their own, becoming too rigid, too dogmatic, thereby slowly eroding the morality at their center, and transforming into a shadow of their former selves: hypocritical, unjust, and cruel.
但正如小林在这里通过对武士文化的批判所展示的，有时这些机构会自成一体，变得过于僵化、过于教条，从而慢慢侵蚀其中心的道德，变成其昔日的影子：虚伪、不公和残酷。
At its core, Harakiri is a story of revenge, but not in the usual sense of violent vengeance or personal satisfaction.
《切腹》的核心是一个复仇的故事，但不是通常意义上的暴力复仇或个人满足。
Instead, it is the revenge of truth against myth, and of human dignity against the rigid structures that deny it.
相反，它是对神话的真相的复仇，是对否认人类尊严的僵化结构的复仇。
Framed as a story within a story, we meet Hanshiro as an aging samurai who enters a clan's domain looking to perform seppuku or harakiri, the ritual of death that allows a samurai to take his own life and die with honor.
作为一个故事中的故事，我们遇到了半四郎，一个年迈的武士，他进入一个家族的领地，寻求进行切腹或切腹，即允许武士自杀并以荣誉死去的仪式。
But before he does, he shares the story of another samurai who came before him, a samurai who came to the clan with a similar request only to be forced, in a cruel twist, to carry out the ritual using a dull bamboo blade, thereby turning the noble demonstration of bravery, into a spectacle of humiliation inflicted on a desperate man.
但在他这样做之前，他分享了另一个武士的故事，这个武士曾经带着类似的请求来到这个家族，却在一个残酷的转折中被迫用钝竹刀进行仪式，从而将勇敢的高贵展示变成了对一个绝望者施加的羞辱的景象。
From this, a moral investigation unfolds that gradually lays bare the hollowness of the clan's supposed honor, with each new detail peeling back the layers of hypocrisy that underpin the clan's blind insistence on the samurai traditions, even as they violate the very virtues they claim to preserve.
从中展开了一场道德调查，逐渐揭示了家族所谓荣誉的空洞，每一个新细节都剥去家族盲目坚持武士传统的虚伪层次，即使他们违反了他们声称要维护的美德。
Kobayashi's presentation is absolutely immaculate here with a beautiful usage of light and shadow, and a remarkable command over tone and setting, with the clan's stone courtyard in particular standing as an increasingly claustrophobic metaphorical prison.
小林在这里的呈现绝对无可挑剔，巧妙地运用了光影，并对基调和环境有着非凡的掌控，尤其是家族的石庭院，成为一个日益幽闭的隐喻监狱。
He is also careful to present the clan not as evil, but more so as just hollow, clinging to outdated structures that clearly no longer serve their intended purpose, and transforming them from protectors of a moral code, into authoritarians concerned only with their own power and reputation.
他还小心地将家族呈现为不是邪恶的，而是空洞的，紧紧抓住显然不再服务于其预期目的的过时结构，并将其从道德准则的保护者转变为只关心自身权力和声誉的专制者。
This, then, is exactly the kind of system that Hanshiro seeks to defy, not just the one from the clan in front of him, one limited to a particular time and place, rather, he challenges the very idea of any institution that places its own survival over the well-being of the individuals it claims to serve.
这正是半四郎试图挑战的系统，不仅仅是他面前家族的那个，限于特定时间和地点的那个，而是他挑战任何将自身生存置于其声称服务的个人福祉之上的机构的理念。
It leaves us questioning how many similar codes persist in our society, how we, too, have submitted ourselves to institutions that demand our conformity and sacrifice, yet offer nothing in return but hollow ideals.
这让我们质疑在我们社会中有多少类似的准则存在，我们自己也如何屈从于要求我们顺从和牺牲的机构，而这些机构除了空洞的理想外什么也不提供。
And through the unforgettable conclusion of his rebellion, Hanshiro firmly reminds us that honor and justice, when divorced from humanity, become a weapon rather than a virtue, and that true honor is not something dictated by systems or codes, but by acts of humanity and empathy that truly value and serve individuals.
通过他叛乱的难忘结局，半四郎坚定地提醒我们，当荣誉和正义与人性分离时，它们成为武器而非美德，真正的荣誉不是由系统或准则决定的，而是由真正重视和服务于个人的人性和同情心的行为决定的。
Memories of Murder, directed by Bong Joon Ho.
《杀人回忆》，由奉俊昊执导。
The good old murder mystery has always been a staple of cinema, yet it's a much more complicated genre than it may seem.
经典的谋杀悬疑片一直是电影的主打类型，但它比看起来要复杂得多。
Tapping into some of our most innate emotions and curiosities, the puzzle might draw us in with relative ease, but resolving that investment in a satisfying way, that's the deceptively tricky part.
这种类型触及我们最本能的情感和好奇心，谜题可能相对容易地吸引我们，但要以令人满意的方式解决这种投入，这才是看似简单却极其棘手的部分。
For how often does the resolution not quite live up to the built-up suspense, how often does a little disappointment emerge as we realize it was more exciting not to know?
有多少次结局未能达到积累的悬念，有多少次我们意识到不知道真相更令人兴奋时，感到些许失望？
Memories of Murder understands these dynamics and plays them like a fiddle.
《杀人回忆》理解这些动态，并将其演绎得淋漓尽致。
Set in a small Korean province in the 80s, a series of brutal homicides have the local police force struggling for answers, and a big city detective is brought in to assist them.
故事设定在 80 年代的一个韩国小省份，一系列残忍的凶杀案让当地警察束手无策，一名大城市的侦探被请来协助调查。
The cat-and-mouse game begins, but not necessarily in the way you might expect.
猫捉老鼠的游戏开始了，但不一定是你所期望的方式。
For as the case drags on, more victims are claimed, and despair in the community grows, the story, too, slowly transforms into something deeper and darker as our gaze shifts away from the murderer, and towards those who are trying to catch him.
随着案件的拖延，更多的受害者出现，社区的绝望加剧，故事也逐渐转变为更深刻、更黑暗的东西，我们的目光从凶手转向那些试图抓住他的人。
The setting also plays an essential role in the story's disquieting atmosphere, with the ordinary landscape of the countryside enveloping the brutality of the murders as an indifferent witness.
环境在故事的不安氛围中也起着重要作用，乡村的普通景观包裹着谋杀的残暴，仿佛是冷漠的见证者。
It's a strange juxtaposition between violence and normalcy that invokes questions about the nature of evil and whether it is a product of environment or simply an aberration that can emerge anywhere, even in the most unsuspecting places.
这是暴力与正常之间的一种奇怪的并列，引发了关于邪恶本质的问题，以及它是环境的产物还是仅仅是一种可能出现在任何地方的失常，甚至是在最不受怀疑的地方。
Detective Park, the first one on the case, initially relies on crude and clumsy methods to physically intimidate his suspects and coerce confessions out of them, convinced he can bully his way to the truth.
最先接手案件的朴侦探最初依靠粗暴和笨拙的方法来身体恐吓嫌疑犯并进行逼供，确信他可以通过威逼获得真相。
The arrival of the big city detective, then, brings a contrasting approach, representing the voice of reason, with meticulous attention to evidence and procedures.
然后，大城市侦探的到来带来了截然不同的方法，代表理性的声音，注重证据和程序。
But as he too fails to provide answers, the differences between the rural instincts and the urban methodology start to break down, revealing a deeper, more disturbing reality: that the crime itself may defy explanation, order, and understanding.
但当他也未能提供答案时，乡村本能与城市方法之间的差异开始瓦解，揭示出一个更深刻、更令人不安的现实：犯罪本身可能无法解释、无法指挥、无法理解。
The black hole that results from the seemingly unsolvable mystery starts eating away at everyone involved, turning them increasingly cruel to the point where the line between investigator and perpetrator starts to blur.
由看似无法解决的谜团产生的黑洞开始吞噬所有参与者，使他们变得越来越残酷，以至于调查者与犯罪者之间的界限开始模糊。
Bong Joon Ho portrays this descent with a sense of tragic inevitability, suggesting that under pressure, even those who seek justice can become as monstrous as the evil they pursue.
奉俊昊以一种悲剧的必然性描绘了这种堕落，暗示在压力下，即使是追求正义的人也可能变得像他们追捕的邪恶一样可怕。
In one of the most haunting endings to any mystery thriller, it becomes painfully clear that Memories of Murder is not merely about solving a puzzle, but a profound exploration of the limitations of justice in a world where the truth is often out of reach.
在任何悬疑惊悚片中最令人难忘的结局之一中，痛苦地清楚《杀人回忆》不仅仅是关于解开谜题，而是对在一个真相常常遥不可及的世界中正义局限性的深刻探索。
It confronts us with the terrifying notion that evil can persist, lurking just outside the edges of our understanding, resisting explanation or containment.
它让我们面对一个可怕的概念，即邪恶可以持续存在，潜伏在我们理解的边缘之外，拒绝解释或遏制。
It is a movie that leaves us not with a sense of closure but with a lingering unease, reminding us that sometimes, despite our best efforts, there are questions that cannot be answered and horrors that cannot be rationalized.
这是一部让我们没有结束感而是留下挥之不去的不安的电影，提醒我们有时尽管我们尽了最大努力，仍有无法回答的问题和无法理性化的恐怖。
Memories of Murder doesn't simply end; it echoes, like an unsolved case or a memory that refuses to fade, reminding us of the unsettling truth that some darknesses are too deep to ever be fully known.
《杀人回忆》不仅仅是结束；它像一个未解的案件或一个拒绝消逝的记忆一样回响，提醒我们某些黑暗太深，永远无法完全了解。
No Country For Old Men, directed by the Coen Brothers.
《老无所依》，由科恩兄弟执导。
This quietly subversive neo-western, for me, was one of those gateway movies that brought me into the higher realms of cinema.
对我来说，这部安静而颠覆的现代西部片是将我带入电影更高境界的入门电影之一。
Here I was, a young teenager believing he was about to see an exciting action crime movie, featuring modern cowboys, old-timey sheriffs, cool bad guys, and of course, a big bag of money that ties them all together.
当时我还是个年轻的青少年，以为自己即将看到一部激动人心的动作犯罪电影，里面有现代牛仔、老派警长、酷炫的坏人，当然，还有一个将他们联系在一起的大袋子钱。
What I actually got, however, puzzled me deeply.
然而，我实际看到的却让我深感困惑。
Did they really just kill off the main character like that?
他们真的就这样杀掉了主角吗？
Where is the music?
音乐在哪里？
And what was up with that ending?
那个结局是怎么回事？
I had no idea how to feel about it all.
我不知道该如何看待这一切。
And yet, the movie lingered in my mind.
然而，这部电影在我脑海中挥之不去。
There was just something about it, something elemental almost, that kept drawing me back, and that would go on to change my entire perception of what cinema can be.
它有某种东西，几乎是某种基本的东西，不断吸引我，并最终改变了我对电影可能性的整个看法。
Not just plot and excitement, but atmosphere and poetry.
不仅仅是情节和刺激，还有氛围和诗意。
Today, to watch No Country for Old Man is like watching a clashing of raw natural forces.
今天，观看《老无所依》就像观看原始自然力量的碰撞。
Based on the book by Cormac McCarthy, who is well-known for his bleak yet fascinating perspectives on violence and chaos, here, too, we see a certain collapse of the order, a world that no longer holds the same certainties that it used to, though of course, one can wonder if it ever did to begin with.
基于科马克·麦卡锡的小说，他以对暴力和混乱的阴郁而迷人的视角而闻名，在这里，我们也看到了一种秩序的崩溃，一个不再拥有过去那种确定性的世界，当然，人们可以怀疑它是否曾经有过。
Either way, in this desolate landscape, human beings are seemingly reduced to mechanisms, operating as if purely driven by unreflective instincts.
无论如何，在这个荒凉的景观中，人类似乎被简化为机制，仿佛纯粹由无反思的本能驱动。
At the center of it, we find Anton Chigurh, who pretty much immediately became one of cinema's most iconic villains, a status that has only further cemented itself over time.
在其中心，我们发现了安东·奇古尔，他几乎立即成为电影史上最具标志性的反派之一，这一地位随着时间的推移更加巩固。
What's the most you've ever lost in a coin toss?
你在抛硬币中输得最多的是什么？
But more than being the main antagonist, Chigurh also stands as the extreme embodiment of those forces of chaos that have been infecting the world at large.
但不仅仅是主要反派，奇古尔也代表了那些感染整个世界的混乱力量的极端体现。
The evil he commits is dispassionate, detached, and often at the whim of chance, famously flipping a coin to decide whether his victims live or die.
他犯下的邪恶是无情的、冷漠的，常常随心所欲地抛硬币来决定他的受害者是生是死。
Just call it.
就这样吧。
And through his actions, he invokes that broader feeling that fate is arbitrary, that no one controls anything, and that death can befall anyone at any time, even those we perceive as the main characters.
通过他的行为，他唤起了一种更广泛的感觉，即命运是任意的，没有人能控制任何事情，死亡可以随时降临于任何人，即使是我们认为的主角。
He stands in stark contrast with the Sheriff Bell, who comes from a world, or rather, a worldview, in which good and evil were more clearly defined, and in which there was a more general order to the world and to the extent that man could understand it.
他与警长贝尔形成鲜明对比，后者来自一个世界，或者说是一种世界观，在这个世界中，善与恶更为明确，并且世界有更普遍的秩序，人类可以理解的程度。
The crime you see now, it's hard to even take its measure.
你现在看到的犯罪，甚至很难衡量。
Being confronted with Chigurh, and with this case he can neither solve nor even comprehend, everything he once believed in, that fundamental sense of justice, of order, that he thought lay at the foundations of the earth, all come crumbling down in the face of a much darker reality; a reality that most likely had always been there hiding beneath the surface.
面对奇古尔，以及他既无法解决也无法理解的案件，他曾经相信的一切，那种根本的正义感、秩序感，他认为存在于地球的基础之上，面对一个更黑暗的现实时，全部崩溃；一个很可能一直隐藏在表面之下的现实。
It's a rather bleak perspective, but as with many of McCarthy's works, it's also where the story finds its philosophical power; for what it also shows is how despite all this, humanity still finds itself resilient, defiant even, ready to meet those forces of chaos, no matter how the chips may fall.
这是一种相当阴郁的视角，但正如麦卡锡的许多作品一样，这也是故事找到其哲学力量的地方；因为它也展示了尽管如此，人类仍然表现出韧性，甚至是反抗，准备迎接那些混乱的力量，无论结果如何。
A man would have to put his soul at hazard.
一个人必须将他的灵魂置于危险之中。
He'd have to say, "OK. I'll be part of this world."
他必须说，“好吧。我将成为这个世界的一部分。”
来源：英语东