近日，英国广播公司（BBC）公布了一份榜单，列出100部最伟大的非英语电影。

这些电影由43个国家的209名影评人评选出来，包含来自24个国家的67个导演的影片，涉及19种语言。

 榜单中排名第一的是日本导演黑泽明的《七武士》（Seven Samurai），BBC称它在世界各地影评人中几乎“零差评”。

 法语电影上榜最多，共有27部入围，位列第二的是华语电影，多达13部。

其中，年代最早的电影是费穆的《小城之春》（1948），入围电影最多的导演是王家卫（3部），他的《花样年华》是唯一入围前十的华语电影。

更多关于这13部华语影片细节，来和双语君一同看看吧！

BBC最佳外语片之华语电影

No.98 阳光灿烂的日子
In the Heat of the Sun, 1994

 导演：姜文

影评

Jiang Wen's extraordinary 1994 debut In the Heat of the Sun is the story of a dreamy abstract place perpetually awash in baking heat.
姜文的处女作，1994年上映的《阳光灿烂的日子》非常不同凡响，故事发生在一个梦幻般抽象的地方，永远沐浴在炽热的阳光中。
— Screen Anarchy

I only focus on my generation and my generation's true feelings. I wanted to portray that time through the eyes of children who lived through that time, then I filmed it in that way.
我只想聚焦于我们这一代人和我们这一代人的真实感受。我想从经历过那个时代的孩子的眼中展现出那个时代，我就是这么拍的。
—— 姜文

No.93 大红灯笼高高挂
Raise the Red Lantern, 1991

 导演：张艺谋

影评

Raise the Red Lantern — set in 1920s China — used entrenched social and gender to fuel a gorgeously filmed collision between expectation and reality, dreams and despair.
《大红灯笼高高挂》以二十世纪二十年代的中国为背景，用华丽的镜头记录了根深蒂固的社会和性别关系，烘托出期待与现实、梦想与绝望之间的强烈碰撞。
— John Hartl

A beautifully crafted and richly detailed feat of consciousness-raising.
一部精雕细琢、细节丰富的，关于自我意识觉醒的杰作。
— Janet Maslin

No.78 卧虎藏龙
Crouching Tiger, Hidden Dragon, 2000

 导演：李安

影评

Lee grounds the high-kicking mayhem in poetic gravity, which gives it a flavor all its own, as plangent and lovely as the cello strains of Tan Dun's memorable score.
李安用诗意的庄重稳住了这飞檐走壁的功夫大乱斗，赋予了它一种独特的风情，一如电影中谭盾那令人难忘的大提琴配乐一样凄婉动人。
— Damien Bona

The movie that catapulted Ang Lee into the ranks of upper echelon Hollywood filmmakers, Crouching Tiger, Hidden Dragon features a deft mix of amazing martial arts battles, beautiful scenery, and tasteful drama.
《卧虎藏龙》让李安一炮而红，跻身好莱坞一线电影制片人之列，片中融合了令人惊叹的武打片段、优美的景色和令人回味的剧情。
— Richard Corliss

No.71 春光乍泄
Happy Together, 1997

 导演：王家卫

影评

This is a story of people who don't belong and don't particularly want to belong, and yet are inevitably sad at not belonging.
这是一个关于本不属于彼此，也不愿属于彼此，但又宿命般因不能相守而悲伤沉沦的两个恋人的故事。
— Edward Guthmann

The story may end in Taiwan on a heartbreaking note, but we're left somewhere between here and there, happily drifting through the film's luscious netherworld of sound and image.
故事本可以结束在台湾，留下伤感的余音，但我们的心思却散落在影片的某些片段中，游魂一般在声像创造的性感华丽的地下世界中畅游。
— Rob Nelson

No.63 小城之春
Spring in a Small Town, 1948

 导演：费穆

影评

Its cool understatement in terms of narrative and performance, its psychologically illuminating use of interiors and exteriors, and its imaginative use of occasional voiceover to explore – but teasingly never pin down or delimit – the wife's conflicting emotions: all these are combined to create a sophisticated work of sharp and subtle insights that are as relevant today as when the film was made.
这部电影在叙事和表演上冷静而低调，它对于内外场景的运用富于心理暗示，它偶尔出现的画外音充满了想象力，这些旁白探究着、却挑逗般从不界定妻子矛盾的情绪。所有这些组合起来，创造出了一个充满洞见，犀利又微妙的成熟作品。无论在当时还是今日，都能引发共鸣。
— Geoff Andrew

No.56 重庆森林
Chungking Express, 1994

 导演：王家卫

影评

These stories, about disconnections, loneliness and being alone in the vast city, are photographed in the style of a music video... What happens to the character is not really the point; the movie is about their journeys, not their destinations.
这些都是关于疏离、寂寞和孤身一人在大都市中生存的故事，摄影风格如同MV……人物身上发生的事情不是重点，重要的是他们的历程，而非目的地。

Wong is more of an art director, playing with the medium itself, taking fractured elements of criss-crossing stories and running them through the blender of pop culture.
王家卫更像是一个美术指导，他善于操控媒介本身，从纵横交错的故事中提炼出碎片化的元素，再把各种流行文化糅杂进去。
— Roger Ebert

No.54 饮食男女
Eat Drink Man Woman, 1994

 导演：李安

影评

The sometimes surprising romances of Eat Drink Man Woman keep spinning, illuminating the irrationality of life. Desire pulls everyone in different directions. Eating and sex — the primal urges of life, according to Lee — dominate these outwardly sophisticated characters, who even woo each other with food.
《饮食男女》中时不时出人意料的爱情故事一直在编织描绘生活中不理性的地方。欲望把每个人拉向不同的方向。李安认为，食与性是生命原始的冲动，一直主导着这些外表精明的角色，就算求爱也要用食物。
— Michael Wilmington

No.41 活着
To Live, 1994

 导演：张艺谋

影评

"To Live" is a simple title, but it conceals a universe.
“活着”是一个简单的标题，但是它背后隐藏着一个宇宙。

It is a big, strong, energetic film, made by a filmmaker whose vision takes in four decades of his nation's history, and sees that ordinary people everywhere basically want what his heroine cries out for, a quiet life.
这是一部荡气回肠、充满激情的电影，导演的视野横跨了一个国家40年的历史，他知道芸芸众生最基本的需求与他的主人公所渴望的一样：一个宁静的生活。
— Roger Ebert

No.38 牯岭街少年杀人事件
A Brighter Summer Day, 1991

 导演：杨德昌

影评

A Brighter Summer Day's extended running time pays off: Si'r's spiral towards tragedy never stretches credibility, because Yang takes the time to let it realistically occur, showing us each factor that contributes to his slow transformation.
这部影片的超长时长是值得的：小四朝着人生悲剧的逐渐转变绝不会让你觉得难以置信，因为杨德昌从容地用大量时间让它真实地在你眼前发生，逐一展示每一个促成这场质变的因素。
— A.A. Dowd

Politics and movies and fathers and sons and mothers and daughters and first love and scorching, insensate first jealousy... almost hallucinatory violence that feels like Greek tragedy and Proust and Shakespeare.
政治、电影、父亲、儿子、母亲、女儿、初恋、煎熬，第一尝到的失去理智的嫉妒......幻觉般的暴力让我们联想到希腊悲剧、普鲁斯特和莎士比亚。
——Ray Pride

No.25 一一
Yi Yi, 2000

 导演：杨德昌

影评

Edward Yang was a master of transmuting grand socio-political narratives into something deeply intimate: the story of a young couple or a family could be the story of a city, a country, an entire era.
在这方面，杨德昌是个大师，他总能将宏大的社会政治叙事潜移默化为深入人心的私密故事。一对年轻夫妇或者一个家庭的故事可以是一个城市、一个国家，甚至于一个时代的缩影。

It is a film that plunges you into lives that feel fully lived with the confidence of a great novel; it thrives on details while being undeniably sweeping.
这部电影有着一部伟大小说的自信，能让你沉浸于片中那些全身心投入生活的人物的故事中，它胜在细节，又绝不失广度与深度。
— David Sims

No.18 悲情城市
A City of Sadness, 1989

 导演：侯孝贤

影评

Set in mid-1940s Taiwan, when the Kuomintang government took control of the island from Japan's colonial rule, Hou Hsiao-hsien's historical drama appears to be a chronicle of the misfortunes of the Lin family. But Hou used the Lins to put the dark history of Taiwan in the spotlight.
这部电影的故事发生在上世纪四十年代中期，国民党从日本殖民者手中接过台湾统治权的时候。侯孝贤这部历史剧似乎是林氏家族厄运的一部编年史，但是他用林家的故事将台湾这段黑暗历史推到了聚光灯下。

What seem to be mundane events experienced by the four Lin brothers illustrate the pain and struggles of the people in Taiwan during the times of February 28.
林家四兄弟所经历的看似平凡的事件让我们感受到了台湾人在二•二八事件中的悲痛与抗争。

— Vivienne Chow

No.12 霸王别姬
Farewell My Concubine, 1993

 导演：陈凯歌

影评

Chen Kaige's Farewell My Concubine tells the story of two Peking Opera actors' fluctuating fortunes, from childhood onwards, but it is actually about the passage of time, about glory and decay, about persevering love and hatred.
陈凯歌的《霸王别姬》讲述了两个京剧演员自孩提时代起就曲折动荡的命运，但这实际上是一个关于时光的流逝，盛世与衰败，不屈不挠的爱与恨的故事。

A sumptuous, ambitious, uNPRedictable epic, it sweeps the viewer through 52 tumultuous years of Chinese history, from 1925 to 1977, as the characters are kicked back and forth by warlords, Japanese invaders and the Cultural Revolution.
这部华丽、宏大、变幻莫测的史诗带着观众感受了中国从1925至1977年间52年的动荡历史，讲述了主角们在军阀、日本侵略者和文化大革命等时期颠沛坎坷的命运。
— Huang Haikun

No.9 花样年华
In the Mood for Love, 2000

 导演：王家卫

影评

Loneliness and longing permeate the smoky, colourful atmosphere of Wong Kar-wai's dreamy In the Mood for Love. Breaking down all the conventions of cinematic love stories, the characters barely touch and only allow slivers of their inner lives to peek through.
寂寞和欲望像烟雾一样，弥漫在王家卫的《花样年华》如梦似幻而又色彩斑斓的氛围中。这部电影打破了所有爱情片的陈规，主角之间几乎没有触碰，仅仅开了一道小口让观众去窥视他们的内心世界。

In the Mood for Love is a film that ripples with textures and sensual energy as the camera becomes preoccupied with small gestures: the rattling of mahjong tiles, the way fabric bends, hands leaning on a tabletop. It is a film where absence is infused with beauty, poetry and romance.
《花样年华》荡漾着质感与感官的涟漪，摄影机总是专注于各种小动作：哗啦作响的麻将、绸缎弯曲的样子、倚在桌上的手。这是一部在留白中注入优美、诗意与浪漫的电影。

— Justine Smith