考研英语阅览《经济学人》读译参阅Day2004_in_法国

原标题：考研英语阅览 | 《经济学人》读译参阅 day2004

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text 2004

法国影片《圣奥梅尔》:未被听见的声响(上)

01

laurence coly (guslagie malanda, pictured) is a young senegalese woman studying philosophy in paris.one winter evening, she takes a train to the cold northern french coast, checks in to a hotel for the night, walks to the beach on a rising tide and leaves her baby to drown.the tiny corpse is found by a fisherman, who at first mistakes the child for a seal.based on a true story that shook france several years ago, “saint omer”, which was released in america on january 13th, follows laurence’s trial for murder.to describe it as a courtroom drama would be to underplay the subtle, tightly controlled study of motherhood, race, belonging and separation that lies at the centre of this darkly mesmerising film.selected as france’s entry for this year’s academy awards, “saint omer” has already picked up prizes at the venice film festival and in paris.it confirms the place of alice diop, its french director, whose parents came from senegal, as one of a new generation of black directors making films that challenge the way france sees itself.the story is seen through the eyes of rama (kayije kagame), a french novelist and university lecturer whose parents also emigrated from senegal.

译文

劳伦斯·科利(古斯拉吉·马兰加饰)是一个在巴黎学习哲学的塞内加尔年青女子。一个冬天的晚上，她坐火车到严寒的法国北部海岸，入住一家酒店过夜，在涨潮的时分步行到海滩，然后让她的孩子溺水而亡。一个渔民发现了婴儿小小的尸身，一初步他还把尸身误认为是海豹。根据几年前震动法国的真实故事改编，1月13日在美国上映的《圣奥梅尔》叙说了劳伦斯因谋杀罪受审的故事。将这部影片描绘为一部庭审影片会淡化它对母亲身份、种族、归属感和别离等主题所进行的奇妙细腻、严丝合缝的研讨，而这正是这部漆黑且诱人的影片的中心地址。《圣奥梅尔》是本年送选奥斯卡奖的法国影片，而且现已在威尼斯影片节和巴黎摘得奖项。导演爱丽丝·迪欧普是法国人，其父母来自塞内加尔，这部影片标明迪欧普确属重生代黑人导演中的一员，他们的影片应战了法国的自我认知。故事经过拉玛(卡伊耶·卡佳梅饰)的视角打开，拉玛是一位法国小说家和大学讲师，她的父母也是从塞内加尔移民到法国。

02

rama is writing a book inspired by this case of infanticide and travels to northern france to sit in the courtroom.under cross-examination, laurence acknowledges what she did, but is unable to explain it, muttering at one point about “sorcery”.the more that she evokes her childhood struggle to fit in, both in dakar (where she grew up) or later in paris (where she moved), the more the parallels with rama’s own life emerge.with what amounts to a physical ache, rama grasps their shared hurt: a troubled maternal tie, the pressure of parental aspiration and the unresolved anxiety of a life divided between two cultures.ms diop’s camera is unflinching: her close-up shots leave nowhere else for the viewer to look.as the lawyers attempt to pierce the appalling mystery of infanticide, the movie peels back layers of racial and cultural prejudice.a white university professor called as a witness expresses surprise that laurence chose to study wittgenstein rather than a figure closer “to her own culture”.

译文

受这起杀婴案子的启示，拉玛正在写一本书，所以她前往法国北部旁听庭审。在被诘问后，劳伦斯招认了自个的所作所为，但无法说明为何会有此行为，甚至一度喃喃自语地说到“巫术”。劳伦斯越是回想起她年少时尽力融入达喀尔(她长大的当地)和巴黎(她后来搬到这儿)所阅历的挣扎，拉玛就越能看到她和自个的人生阅历的类似之处。带着恰当于肉体的苦楚，拉玛捉住了她们一起的伤痛：严峻的母女联络、父母期望带来的压力，以及被两种文明拉扯的未能处置的焦虑。迪欧普的

摄像机是毫不畏缩的：她的特写镜头让观众无处转移目光。跟着律师们企图解开这一骇人的杀婴疑团，影片则抽丝剥茧，提示了种族和文明成见。一位白人大学教授作为证人，对劳伦斯选择研讨维特根斯坦，而不是一个更接近?8愿鑫拿鳌钡娜宋锉昝骶妗?

03

ms diop films the scenes of laurence in a wood-panelled dock, washed

through with a glorious golden light: an arresting decision, given the grimness of the subject matter, which seems to call into question the viewer’s perceptions and to hint at the ambiguity of colour.“saint omer” is at once a film about the african immigrant experience in france, and about motherhood everywhere.in this respect it belongs to a wave of compelling films made by black french directors in recent years.these include ladj ly’s “les misérables”, which came out in 2021 and examines the casual violence shattering childhood innocence in the french banlieues (high-rise suburbs).another is ma?mouna doucouré’s “mignonnes” (“cuties”), released in 2021, which explores girlhood, giggly friendship and the disturbing hyper-sexualisation of pre-teens.mr ly was born in mali and grew up outside paris; ms doucouré was born in paris to

senegalese parents.like ms diop, these film-makers use their multilayered understanding of contemporary france to tease out the contradictions and complexities of modern lives.

译文

迪欧普在拍照劳伦斯坐在被告席的木板前时，绚烂的金色光线倾泻在她身上：思考到影片主题的严厉昏暗，这是一个引人凝视的抉择，如同在质疑观众的观点，并暗示肤色的迷糊不明。《圣奥梅尔》既是一部关于非洲移民在法国的阅历的影片，也是一部关于普世的母亲身份的影片。在这方面，它归于这些年由法国黑人导演所掀起的引人凝视的影片浪潮。这波涛潮中包括拉吉·利的《凄惨世界》(2021年)，该片谈论了法国市郊(高层建筑区)随意的暴力作业损坏年少纯真的故事。还有麦穆娜·杜库雷的《娇娃们》(2021年)，该片谈论了少女年代、充溢傻笑的友谊以及令人不安的青少年性放纵表象。利出世在西非马里，在巴黎城外长大；杜库雷出世在巴黎，父母是塞内加尔人。像迪欧普相同，这些影片人用他们对今世法国的多层次了解，收拾呈现代日子的敌对和凌乱性。回来搜狐，查看更多

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