CANNES: A hit at the Cannes Film Festival, which shut Sunday, can be a blip back home. As the glow of Cannes fades, here are the films from the festival that may sustain the buzzthey earned on the Riviera:
戛納：戛納電影節(jié)在周日閉幕，熱烈的氣氛暫時(shí)消退。隨著戛納電影節(jié)光芒的褪去，以下是電影節(jié)上的幾部能夠留住他們?cè)诶锞S埃拉海岸贏得的光環(huán)的電影。

OSCAR BUZZ
奧斯卡進(jìn)擊

Premiering just days before Ireland legalized gay marriage, Todd Haynes’ “Carol” is a lush period drama that is grippingly contemporary.
托德·海因斯導(dǎo)演的《卡羅爾》在愛爾蘭同性戀婚姻合法化的幾天前剛剛首映，這部作品發(fā)行于（同性戀運(yùn)動(dòng)）郁郁蔥蔥時(shí)期，時(shí)代感強(qiáng)烈，十分扣人心弦。

Based on the 1952 Patricia Highsmith novel “The Price of Salt,” the film stars Cate Blanchett and Rooney Mara as two women who are intractably drawn together, but who must cloak their budding romance in disguised gestures and subtle glances.
原著是1952年派翠西亞·海史密斯創(chuàng)作的小說(shuō)《鹽的代價(jià)》，電影由女星凱特·布蘭切特和魯妮·瑪拉主演——兩位女子倔強(qiáng)地堅(jiān)持在一起，但她們必須要以偽裝和微妙的眼神來(lái)遮掩這段剛剛萌芽的浪漫關(guān)系。

Mara shared in the best actress award at Cannes, but distributor Harvey Weinstein will ensure that’s not the last honor for “Carol.”
瑪拉獲戛納電影節(jié)最佳女演員獎(jiǎng)，但發(fā)行人哈維·韋恩斯坦將確保這不是《卡羅爾》獲得的最后殊榮。

Also look for Pixar’s “Inside Out,” Cotillard’s empathetic Lady Macbeth and the veteran stars of Paolo Sorrentino’s “Youth” (Michael Caine and Harvey Keitel) to find some award season attention.
還有皮克斯的《頭腦特工隊(duì)》，歌迪亞投入演出的《麥克白夫人》，以及經(jīng)驗(yàn)豐富的影星保羅·索倫提諾的《年輕人》（邁克爾·凱恩和哈維·凱特爾），這幾部均為奧斯卡熱點(diǎn)。

FOR ART HOUSE FANS
為了藝術(shù)劇院愛好者準(zhǔn)備的

Hou Hsiao-hsien’s martial arts drama “The Assassin” may seem like stuff of genre, but the Taiwanese filmmaker’s latest – which won best director – bares little with the fast-paced action usually found in the genre.
侯孝賢的武打片《聶隱娘》可能看起來(lái)很像風(fēng)俗畫，不過(guò)這位臺(tái)灣電影制作人最近的這部作品（斬獲了最佳導(dǎo)演獎(jiǎng)）不同于以往的武打片，它鮮少展示快節(jié)奏的打斗。

It was the most gorgeous film at Cannes. Nearly every image is breathtakingly composed. Some, however, thought it lacked in substance behind the splendid imagery.
這是本屆戛納上最驚艷的電影，幾乎每一幀畫面的組成都扣人心弦驚心動(dòng)魄。不過(guò)，有些人則認(rèn)為它華而不實(shí)。

DIFFICULT BUT REWARDING
沉重但有所值的

A harrowing Holocaust drama set among the Jewish workers of a concentration camp is precisely the kind of film many feel obligated to see, rather than enthusiastic to watch.
令人痛心疾首的大屠殺劇情將一群猶太工人至于集中營(yíng)之中，這類電影是很多人都認(rèn)為有義務(wù)去看的電影，而不是出于狂熱去看的電影。

“Son of Soul,” the first feature by Hungarian director Laszlo Nemes, is something wholly unique: A visceral, bone-chilling, first-person plunge into darkness.
《索爾之子》是匈牙利導(dǎo)演拉斯洛·內(nèi)梅斯創(chuàng)作的第一部影片，這絕對(duì)是很一部獨(dú)一無(wú)二的影片：一部發(fā)自肺腑的、露骨的、以第一人稱視角投入到黑暗中的影片。

REWARDING ODDITIES
值得一看的荒誕故事

“The Lobster” and “Tale of Tales” – two films bound by a wry surrealism and John C. Reilly – vied for most bizarre of the Cannes competition.
兩部和諷刺意味的超現(xiàn)實(shí)主義及約翰·C·賴?yán)H有聯(lián)系的影片《龍蝦》和《故事中的故事》角逐戛納電影節(jié)上“最離奇的電影”。

In Yorgos Lanthimos’ “The Lobster,” middle-aged, unmarried singles (Colin Farrell, Rachel Weisz, Reilly) gather at a remote Irish hotel where, if they don’t couple up, they’re turned into an animal. Weirder still was “Tale of Tales,” Matteo Garrone’s adaptation of grotesque 17th-century Neapolitan fairy tales.
在歐格斯·蘭斯莫斯的電影《龍蝦》中，中年單身者（科林·法瑞爾、瑞切爾·薇茲和賴?yán)椦荩┚墼谝粋€(gè)偏遠(yuǎn)的愛爾蘭旅館里，如果她們?cè)谀莾翰唤Y(jié)成伴侶，他們就會(huì)變成動(dòng)物。《故事中的故事》也很荒誕，這個(gè)故事是由馬提歐·加洛尼改編自17世紀(jì)的一個(gè)那不勒斯怪異神話故事。