How the world sees America, and how the country sees itself, can be credited, at least in part, to Hollywood. For as long as movies have been around, they have reinforced the stories we tell ourselves about our national character, such as your station in life isn’t dictated by your birth and anything is possible, including justice and untold riches, if you’re determined enough.

至少在某种程度上，世界眼中的美国以及美国眼中的美国都要归功于好莱坞的塑造。自电影诞生以来，它一直在不断强化美国人关于自身国民性的那些叙事：一个人的社会地位不由出身决定；只要足够坚定，一切皆有可能——无论是正义的实现还是难以想象的财富。

Of course, darker versions of this story also unspool in theaters. Is there a definitive movie about our nation? The answer undoubtedly varies by era and respondent. But with the country celebrating its 250th birthday and deeply divided, it’s a good time to look at the question anew.

当然，这类故事的黑暗版本也会在影院上映。有没有一部能够定义美国的终极电影？答案无疑会因时代和回答者而异。但在美国庆祝建国250周年、社会又严重分裂之际，眼下正是重新审视这一问题的好时机。

So I asked 10 writers what films they would pick to define America and why. Their choices ranged from blockbusters to indies, homegrown comedies to enigmatic Italian drama, a recent best-picture Oscar nominee to a little-known debut — in short, movies as varied as the country itself.

因此，我邀请了10位作家，让他们选择一部能定义美国的电影并阐明理由。他们的选择涵盖了从大片到独立制作、从本土喜剧到晦涩的意大利剧情片、从近期获得奥斯卡最佳影片提名的作品到鲜为人知的处女作——简而言之，这些电影本身就如这个国家一般多元。

— Stephanie Goodman

——斯蒂芬妮·古德曼

‘Killer of Sheep’ (1978)

《杀羊人》（Killer of Sheep，1978）

Stream on the Criterion Channel or rent on most major platforms.

可在Criterion频道或各大平台付费观看。

Charles Burnett’s masterpiece takes place in the Watts neighborhood of Los Angeles, in the mid-1970s, a decade after civil unrest there. Shot in black-and-white, the film is at once an expressionistic portrait of a poor Black family and of the country they live in, its idealism and bitter truths. There is soaring beauty as well as rueful comedy in Burnett’s vision, and pain that cuts to the bone. Here, every scarred wall and empty lot speaks to promises broken, as does the hollowed-out face of the father, a slaughterhouse worker (Henry G. Sanders).

查尔斯·伯内特的这部杰作以20世纪70年代中期洛杉矶沃茨社区为背景，故事发生在这里发生社会动荡十年之后。影片以以黑白胶片拍摄，既是对一个贫困黑人家庭的表现主义式描绘，也是他们所居住的这个国家的写照，展现了这个国家的理想主义与苦涩真相。伯内特的视野中有飞扬的美，也有令人心酸的幽默，更有深入骨髓的痛苦。在这里，每一面斑驳的墙壁、每一块空地都在诉说着破碎的承诺，屠宰场工作的父亲父亲（亨利·桑德斯饰）那空洞的面庞亦然。

Burnett is one of cinema’s greatest poets, but he’s also a cleareyed dialectician, as evident in the scene of children playing in what looks like an abandoned construction site, an interlude set to Paul Robeson’s “The House I Live In.” An ode to American idealism made famous by Frank Sinatra, that song opens with the question “What is America to me?” It registers very differently when sung by Robeson, a civil rights activist whose career was derailed during the Red Scare. With one indelible film, Burnett invokes American history and makes it.

伯内特是电影史上最伟大的诗人之一，也是一个有敏锐洞察力的辩证学家。影片中孩子们在一个貌似遭到废弃的建筑工地上玩耍的场景中，这一点体现得淋漓尽致——这一幕的配曲采用的是保罗·罗伯逊演唱的《我所居住的房子》。这首歌曾由弗兰克·辛纳屈唱红，是一首歌颂美国理想主义的作品，开头便问道：“美国对我而言意味着什么？”当它由罗伯逊——一位职业生涯在红色恐慌期间被毁的民权活动家——唱出时，却是另一番况味。凭借一部令人难忘的电影，伯内特既回望了美国历史，也创造了美国历史。

Other great movies about America: Ken Jacobs’s “Star Spangled to Death”; Frederick Wiseman’s “In Jackson Heights”; Ava DuVernay’s “13th.”

其他关于美国的伟大电影：肯·雅各布斯的《星光照亮死亡》(Star Spangled to Death)；弗雷德里克·怀斯曼的《在杰克逊高地》(In Jackson Heights)；阿娃·杜维内的《第十三修正案》(13th.)。

— Manohla Dargis

——马诺拉·达吉斯

‘There Will Be Blood’ (2007)

《血色将至》（There Will Be Blood，2007）

Stream on Paramount+.

可在Paramount+观看。

A ruthless, self-made mogul with a string of shady dealings in his past. An opportunistic preacher more interested in power than holiness. A country where fabulous wealth is available, if you’re willing to stomp your boot on your neighbor’s back. Paul Thomas Anderson’s 2007 epic, “There Will Be Blood,” which gave Daniel Day-Lewis one of his greatest roles, rips into the American dream, borrowing the cinematic language of Hollywood’s great westerns but inverting their themes.

一名心狠手辣、白手起家的大亨，身后劣迹斑斑；一名投机取巧的传教士，对权力的渴望远超对信仰的虔诚；一个财富触手可及的国度，只要你愿意把靴子踩在邻居的脊背上。保罗·托马斯·安德森2007年的史诗之作《血色将至》让丹尼尔·戴-刘易斯奉献了他最伟大的表演之一。这部影片撕开了美国梦的外皮，它借用了好莱坞伟大西部片的电影语言，却彻底颠覆了其主题。

In this vision of the West, the frontier yields oil as black as night and exacts blood in return as the twin forces of American prosperity — unfettered capitalists with no scruples and grifters who steal religion for their own ends — barrel toward an explosive conclusion. In this great land, “There Will Be Blood” suggests, you can gain the whole world as long as you’re prepared to lose your soul, too.

在这幅西部图景中，边疆地带产出黑夜般漆黑的石油，并以鲜血作为代价。美国繁荣的两股力量——毫无道德底线的资本家与利用宗教谋取私利的骗子——正冲向一个爆炸性的结局。《血色将至》似乎在说，在这片伟大的土地上，只要你准备好出卖自己的灵魂，就可以赢得整个世界。

— Alissa Wilkinson

——艾莉莎·威尔金森

‘Dazed and Confused’ (1993)

《年少轻狂》（Dazed and Confused ，1993）

左起：罗里·科克兰、杰森·伦敦与萨沙·詹森在这部理查德·林克莱特执导的悲喜剧中。

Rent on most major platforms.

可在各大平台付费观看。

Not long into “Dazed and Confused,” as Texas high schoolers pour out of classrooms for summer break in 1976, the cool teacher hollers about the impending Bicentennial: “Don’t forget what you’re celebrating, and that’s the fact that a bunch of slave-owning, aristocratic white males didn’t want to pay their taxes.”

《年少轻狂》开场不久，1976年得克萨斯州的高中生涌出教室奔向暑假时，那个酷酷的老师大声嚷嚷着即将到来的建国200周年纪念日：“别忘了你们在庆祝什么——庆祝的是一群拥有奴隶、贵族般的白男不想交税这件事。”

The national milestone lingers in the teenagers’ minds — “This country was founded by people who were into aliens, man,” the head stoner insists — but it’s mostly a backdrop for a rowdy night. As social cliques bleed together, conflicts arise: between old mores and new cultural groundswells, between patriotism and rebellion, between boundless freedom and nowhere to go. It’s in this friction that the Americanness of Richard Linklater’s 1993 dramedy is undeniable.

这个国家的里程碑在少年们脑海中萦绕——“这个国家是被那些痴迷外星人的人建立的，伙计，”那个整天嗑药的家伙坚持说——但它更多只是一场喧闹夜晚的背景。随着不同社交圈子的交融，冲突浮现了：旧道德与新文化浪潮之间、爱国主义与反叛之间、无限自由与无处可去之间。正是在这种摩擦中，理查德·林克莱特1993年的这部喜剧片的“美国性”无可辩驳。

As a high-school sophomore enamored with this depiction of American teen-hood, I rewatched it on VHS constantly. Choose wisely, it seemed to warn me, a child of immigrants acutely aware that who we are now sets the course for who we can be — and for whether that future self will surrender to groupthink or forever bristle against it.

当时我还是个高二学生，对这部电影里美国青少年的生活着迷不已，我曾用录像带一遍又一遍地重看。“明智地选择”，这部电影似乎在这样告诫我——作为一个移民的孩子，我敏锐地意识到，我们现在的样子决定了我们未来可能成为的样子，也决定了未来的自己究竟是会向群体思维屈服，还是永远保持反抗它的锋芒。

— Maya Salam

——玛雅·萨拉姆

‘Scarface’ (1932)

《疤面人》（Scarface，1932）

Rent on most major platforms.

可在各大平台付费观看。

Talk about American types: The epitome of slapstick mayhem and the censor-consternating sensation of 1932, “Scarface” was bankrolled by a legendary Texas-born tycoon (Howard Hughes) and directed by a big-time Hollywood auteur (Howard Hawks) from a script mainly by a celebrated Chicago newshound (Ben Hecht) as a vehicle for a former idol of New York’s Yiddish theater (Paul Muni), who plays a fictionalized portrait of the most notorious man in the country then (Al Capone). “Scarface” wasn’t the studios’ first gangster film, just the most violent and noisiest. Emerging amid a soundscape of screeching tires, clamorous machine guns and slang-slinging repartee, this Kabuki Capone is flanked by two great molls, one hot (Ann Dvorak), the other cool (Karen Morley). Because of rights issues, the godfather of American gangster films was unavailable for 33 years, which only enhanced its cult status. The meme-life of Brian De Palma’s 1983 remake attests to its power.

说到具有美国特色的人物类型，《疤面人》几乎将他们集齐。这部1932年的影片充满闹剧式的暴力，令审查机构头疼不已，上映后轰动一时。它由一位出生于得州的传奇富豪（霍华德·休斯）出资；好莱坞一流的作者导演（霍华德·霍克斯）执导；剧本主要出自一名芝加哥著名记者（本·赫克特）之手；为纽约意第绪剧院的昔日偶像（保罗·穆尼）量身打造；影片中，穆尼饰演的是当时全美国最臭名昭著的人物——阿尔·卡彭的虚构化身。《疤面人》不是好莱坞的第一部黑帮片，却是当时最暴力、最喧闹的一部。伴随着刺耳的轮胎摩擦声、震耳欲聋的机关枪声和俚语横飞的唇枪舌剑，这位带着歌舞伎式夸张色彩的“卡彭”身边有两位出色的黑帮情妇：一位火辣（安·德沃拉克饰），一位冷艳（凯伦·莫利饰）。由于版权问题，这部美国黑帮电影的教父之作消失了整整33年，这反而增强了它的邪典地位。布莱恩·德·帕尔玛1983年的翻拍版至今仍在互联网上不断被玩梗，也证明了这部电影持久的影响力。

Other great movies about America: Sam Peckinpah’s “The Wild Bunch”; Billy Wilder’s “Some Like It Hot”; Ryan Coogler’s “Sinners.”

其他关于美国的伟大电影：萨姆·佩金帕的《日落黄沙》(The Wild Bunch)；比利·怀尔德的《热情似火》(Some Like It Hot)；瑞恩·库格勒的《罪人》(Sinners)。

— J. Hoberman

——J·霍伯曼

‘The Florida Project’ (2017)

《佛罗里达乐园》(The Florida Project, 2017)

Stream on HBO Max.

可在HBO Max上流媒体观看。

Is there a more American city than Orlando, Fla.? Its attractions promise big dreams, big fun, total escape. But it often masks the tremendous working-class struggle required to keep those dreams alive. The director Sean Baker interprets the complications of Orlando, and America itself, in film form with this sun-soaked drama that unspools on the other side of the Disney world. Discount motels with names like Futureland Inn and Magic Castle are the homes and de facto playgrounds of children who spend their days engaging in games and a little mischief, amid these tarnished environs.

还有比佛罗里达州奥兰多更具美国特色的城市吗？它的景点承诺了宏大的梦想、极致的快乐和彻底的逃离。但它往往掩盖了维持这些梦想所必需的工薪阶层的巨大挣扎。在这部在迪士尼世界另一侧展开、阳光炙热的剧情片中，导演肖恩·贝克(Sean Baker)用电影形式诠释了奥兰多以及美国本身的复杂性。带有“未来世界旅馆”和“魔法城堡”等名字的廉价汽车旅馆成了孩子们的生活家园和实际游乐场，他们每天都在这些黯淡无光的环境中嬉戏并耍点小聪明。

Brooklynn Prince shines as the 6-year-old Moonee, the movie’s optimistic heart and soul. She creates her own kind of magic while the downtrodden grown-ups around her (including her mother, played by Bria Vinaite) try to make ends meet. Baker is deeply attuned to this dichotomy and guides the film with an epic scope and an intimate focus. The results are both charming and heartbreaking.

布鲁克琳·普林斯饰演的六岁女孩穆尼闪耀全场，成为这部电影乐观的核心与灵魂。当她身边饱受生活摧残的大人们（包括由布里亚·维纳特饰演的母亲）试图维持生计的时候，她创造出了属于自己的魔法。贝克对这种两面性有着极深的感悟，并以宏大的视野和细腻的焦点引导着电影。其结果既迷人又令人心碎。

Other great movies about America: Steven Spielberg’s “The Color Purple”; John Sayles’s “Lone Star”; Jordan Peele’s “Us.”

其他关于美国的杰出电影：史蒂文·斯皮尔伯格(Steven Spielberg)的《紫色》(The Color Purple)；约翰·赛尔斯(John Sayles)的《真爱同心》(Lone Star)；乔丹·皮尔(Jordan Peele)的《我们》(Us)。

— Mekado Murphy

——梅卡多·墨菲

‘Nashville’ (1975)

《纳什维尔》(Nashville, 1975)

基思·卡拉丹（车内），这是罗伯特·奥特曼经典电影中的一个场景。

Rent on most major platforms.

可在大多数主要平台上租借。

There are few filmmakers whose work encompasses America, in all its complexities and contradictions, as fully as Robert Altman’s. In his best movies, he took on sacred cows, hidebound institutions, frontier mythology and conventional notions of heroism, and did so with a knowing wink and quiet cackle. There’s something inherently American about his 1975 masterpiece, “Nashville” — how he’s reaching for something big and all-encompassing and audacious in interweaving 24 characters from a variety of backgrounds and social strata over a few days in the capital of country music.

很少有电影导演能像罗伯特·奥特曼这样，在作品中如此全面地展现美国的复杂与矛盾。在他最优秀的电影中，他以会心的微笑和低沉的笑声挑战了神圣的信条、保守的机构、边疆神话以及传统的英雄主义观念。他1975年的杰作《纳什维尔》带有某种自然天成的美国特质——在乡村音乐之都的几天时间里，他如何通过将来自各种背景和社会阶层的24个角色交织在一起来追求某种宏大、包容且大胆的东西。

The film’s unruly, unconventional structure became one of Altman’s trademarks, because he adored the messy intersections of real lives, how an eccentric outsider can end up rubbing elbows with a sneering establishment figure, and come out on top. It’s a movie full of music, of heartache, of patriotism and of political violence; it’s the entire American experience in 160 minutes.

这部电影散漫、非传统的结构成为了奥特曼的标志之一，因为他热爱现实生活中那些混乱的交集，看一个古怪的外来者如何最终与一个傲慢的建制人物混到一起，并成为最终的赢家。这是一部充斥着音乐、心碎、爱国主义和政治暴力的电影；它是浓缩成160分钟的完整美国体验。

Other great movies about America: Altman’s “McCabe & Mrs. Miller,” the story of a land powered by sex and flimflam; Oliver Stone’s “Born on the Fourth of July,” which grapples with what it really means to love your country (and serve it); Andrew Dominik’s “Killing Them Softly,” one of the most sharply cynical films about our country and our time.

其他关于美国的杰出电影： 奥特曼的《花村》(McCabe & Mrs. Miller)，讲述了一个由欲望和欺诈驱动的土地故事；奥利弗·斯通(Oliver Stone)的《生于七月四日》(Born on the Fourth of July)，直面了真正热爱祖国（并为之服务）的含义；安德鲁·多米尼克(Andrew Dominik)的《温柔杀戮》(Killing Them Softly)，关于我们国家和我们时代最尖锐、最讽刺的电影之一。

— Jason Bailey

——杰森·贝利

‘Dirty Dancing’ (1987)

《辣身舞》(Dirty Dancing, 1987)

Rent on most major platforms.

可在大多数主要平台上租借。

A study of class divides, labor, identity, women’s rights, health care and more hiding in a frothy coming-of-age romance, “Dirty Dancing” has all the right moves for understanding postwar America — and a killer soundtrack.

《辣身舞》表面上是一部轻松的青春浪漫剧，实则探讨了阶级分化、劳动、身份认同、女性权利、医疗保健等问题，它具备解战后美国的所有正确切入点——以及一首震撼人心的原声带。

Set amid the social upheavals of the ’60s in a Catskills resort, it follows the awakening, sexual and otherwise, of Baby, a sheltered young guest — Jennifer Grey, in a career-defining role — as she meets Johnny, the edgy dance instructor played by a frequently shirtless Patrick Swayze. (Note their characters’ surnames: her Houseman to his Castle; she’s Jewish and well off, and he — despite the aspirational name — is not. Their affair was a taboo-buster in their era.)

影片以60年代动荡的社会为背景，故事在一家凯茨基尔度假村展开。未经世事的年轻来客“宝贝”邂逅了特立独行的舞蹈教练约翰尼，由此迎来了她在性意识及其他层面的觉醒。“宝贝”由珍妮弗·格雷饰演，这也是她职业生涯的巅峰之作；饰演约翰尼的帕特里克·斯威兹在片中经常赤裸上身。（注意他们角色的姓氏：她姓Houseman（管家），他姓Castle（城堡）；她是犹太人，家境优渥，他——尽管名字带有期许——却并非如此。他们的恋情在那个时代打破了禁忌。）

A frank plotline about abortion was a cinematic rarity — Eleanor Bergstein, the screenwriter, fought to keep it in. The message is that culture can lead to social and political change — nobody puts Baby in a corner! — especially when it’s shimmied in by dancers and musicians (notably, the movie’s only people of color).

关于堕胎的坦率情节在当时是影坛罕见的——编剧埃莉诺·伯格斯坦极力坚持将其保留。影片传达的信息是，文化可以引发社会和政治的变革——没有人能把“宝贝”晾在角落里！——尤其是当它由舞者和音乐家（值得注意的是，他们是电影中仅有的有色人种）摇摆融入时。

— Melena Ryzik

——梅莱娜·雷齐克

‘Zabriskie Point’ (1970)

《扎布里斯基角》(Zabriskie Point, 1970)

Set in summer 1968 in the Mojave Desert, Michelangelo Antonioni’s “Zabriskie Point” is a hypnotic meditation on American ideals told through strangers turned lovers: a college dropout on the lam and a secretary driving through on a work trip. They spend one fever dream of an afternoon wandering the landscape, discussing societal tensions and stumbling into an extremely dusty orgy. (It’s Antonioni and the ’60s, after all.)

米开朗基罗·安东尼奥尼的《扎布里斯基角》背景设定在1968年夏天的莫哈韦沙漠，是一部关于美国理想的催眠般迷幻的沉思录。这是两个萍水相逢的人变成爱侣的故事：一个是在逃的大学辍学生，一个是工作出差途中开车的秘书。他们在一个如梦似幻的下午在原野上漫步，讨论社会紧张局势，并偶然闯入了一场尘土飞扬的群交。（这毕竟是安东尼奥尼，是60年代。）

“There’s a thousand sides — not just heroes and villains,” the secretary (Daria Halprin) tells the dropout (Mark Frechette), which seems to have been the Italian director’s view of the United States. Between the mesmerizing scenes of the American West and the pulsing score from Pink Floyd and Jerry Garcia are moments of intense social unrest, crime and corporate greed. The F.B.I. investigated the film for anti-Americanism, but Antonioni crafts an outsider’s love letter to America, its people and everything it can hold, warts and all.

“有一千个侧面——不仅仅是英雄和恶棍，”秘书（达里亚·哈尔普林饰）告诉辍学生（马克·弗雷切特饰），这似乎正是这位意大利导演对美国的看法。在美国西部迷人的风光与平克·弗洛伊德和杰里·加西亚激昂的配乐之间，是剧烈的社会动荡、犯罪和企业贪婪的时刻。联邦调查局曾以反美主义为由对该片展开调查，但安东尼奥尼却为美国、其人民以及它所能承载的一切——包括它的不完美——创作了一封局外人的情书。

Other great movies about America: Chloé Zhao’s “Nomadland”; Sean Price Williams’s “The Sweet East”; Martin Scorsese’s “Goodfellas.”

其他关于美国的杰出电影： 赵婷的《无依之地》(Nomadland)；肖恩·普莱斯·威廉姆斯(Sean Price Williams)的《甜蜜的东方》(The Sweet East)；马丁·斯科塞斯(Martin Scorsese)的《好家伙》(Goodfellas)。

— Amanda Webster

——阿曼达·韦伯斯特

‘Nothing but a Man’ (1964)

《只是个男人》(Nothing but a Man, 1964)

Rent on most major platforms.

可在大多数主要平台上租借。

The director Michael Roemer was born in Berlin in 1928. He didn’t know what it was like to be young, Black and precariously employed in pre-Civil Rights Act Alabama, like Duff Anderson, the admirable but self-destructive character at the center of his first feature film. What Roemer did know — the feeling of being unwelcome in your own country, the spiritual toll of de facto serfdom — he poured into his miraculous screenplay, which, in the tradition of Tocqueville and Gunnar Myrdal, reflects America back on itself as only an outsider can.

在《民权法案》颁布前的亚拉巴马州，一个工作朝不保夕的黑人青年过着怎样的生活，1928年出生于柏林的导演迈克尔·罗默并不了解。而他的首部长片的核心人物达夫·安德森就是如此，这个角色令人钦佩却又自我毁灭。但罗默深知在自己的祖国不受欢迎的感受，深知事实上的农奴制对精神的摧残——他将这一切倾注进了他这个奇迹般的剧本中。该片秉承托克维尔与冈纳·缪达尔的传统，以只有局外人能做到的方式让美国照见自身的倒影。

Starring an unforgettable Ivan Dixon (as Duff), with an outstanding supporting cast (Abbey Lincoln, Yaphet Kotto, Gloria Foster), “Nothing but a Man” tells a political story in a personal register. Its characters — informed by research trips that Roemer took across the South with his co-screenwriter, cinematographer and fellow Jew, Robert Young — are never anything other than human, for better and worse.

由令人难忘的伊万·迪克森（饰演达夫）主演，并辅以出色的配角阵容（阿比·林肯、亚非特·科托、格洛丽亚·福斯特），《只是个男人》以个人化的基调讲述了一个政治故事。其中的角色——源自罗默与联合编剧、摄影师、同为犹太人的罗伯特·扬在南方各地的调研——无论好坏，都散发着鲜活的人性。

— Reggie Ugwu

——雷吉·乌古

‘Disclosure Day’ (2026)

《揭秘日》(Disclosure Day, 2026)

In theaters.

院线上映中。

The world, as a villainous Colin Firth puts it, is on the brink. Quasi-government operatives work in the shadows. Paranoia and distrust, sometimes with good reason, fill the air. The fight to reveal the truth is as furious as the fight to suppress it. Yes, “Disclosure Day” is an aliens-are-here epic, but tonally, when the cardinals, crop circles and car chases give way to regular people struggling through a chaotic nation, it conveys the anxiety and uncertainty suffusing modern-day, non-sci-fi American life.

正如科林·费尔斯饰演的反派人物所言，世界正处于边缘。准政府特工在阴影中活动。空气中弥漫着多疑与不信任，有时这些不信任并非毫无道理。揭露真相的斗争与掩盖真相的斗争一样激烈。是的，《揭秘日》是一部外星人降临的史诗，但从基调上看，当红衣主教、麦田怪圈和追车戏让位于在混乱国家中苦苦挣扎的普通人时，它传达出了充斥在现代、非科幻美国生活中的焦虑与不确定性。

I saw it in the scene in which Emily Blunt and Wyatt Russell stop at a convenience store: We haven’t gotten to the big action sequences and revelations yet, but they are surrounded by people frantically stocking up, preparing for a war that’s looming in the background. At the end, when our heroes have finally revealed the truth to the public, the vibe shifts to a shaky, tentative optimism, and Blunt has the last word that feels like a call for understanding: “Listen.”

在艾米莉·布朗特和怀亚特·拉塞尔去便利店那场戏里，我看到了这一点：我们还没有进入宏大的动作场面和真相揭露环节，但他们身边围满了疯狂囤积物资的人，为背景中若隐若现的战争做准备。在结尾处，当我们的英雄们终于向公众揭露了真相时，氛围转向了一种动摇、试探性的乐观，而布朗特的最后一句台词听起来像是对理解的呼唤：“听着。”

Something about that feels like who we are as a country, too.

而这也像是我们作为一个国家的感觉。

Other great movies about America: Arthur Penn’s “Bonnie and Clyde”; Lee Isaac Chung’s “Minari”; Richard Kelly’s “Southland Tales.”

其他关于美国的杰出电影： 阿瑟·佩恩(Arthur Penn)的《邦妮和克莱德》(Bonnie and Clyde)；郑李烁(Lee Isaac Chung)的《米纳里》(Minari)；理查德·凯利(Richard Kelly)的《南方传奇》(Southland Tales)。

— Andrew LaVallee

——安德鲁·拉瓦利