“They don’t make ‘em like they used to.”

　　“他们不再像以前一样制作电影。”

　　How often have we all heard that resigned expression? How often have we said it ourselves? ‘The death of cinema’ is debated in university film studies programs worldwide. Critics lament the loss of ’small movies’ in favour of superhero spectacles. Box-office analysts look for signs of an industry on the brink. Studio executives fear that video-on-demand may destroy the idea of going to the cinema more than broadcast and cable TV ever did.

　　我们是不是时常会听到这样的消极表达?我们自己是不是也经常说出这样的话呢?在全世界，“电影的灭亡”一直是大学电影研究项目的讨论话题。评论家们感叹“小电影”的缺失，取而代之的是超级英雄的宏大场景。票房分析员寻找电影产业濒临边缘的迹象。电影制片人们担心视频点播可能会冲击人们去电影院看电影而不是听广播或看有线电视的想法。

　　And what can we really call a new classic? What in recent vintage can hold its own on the big screen with the likes of The Searchers, The Godfather, The Rules of the Game, Seven Samurai or Citizen Kane? Some film journalists even think the movie star is a thing of the past.

　　什么样的电影才能够称之为经典?在最近几年什么样的电影能够像《日落狂沙》，《教父》，《游戏规则》,《七武士》和《公民凯恩》那样在大屏幕上占据一席之地?一些电影记者甚至认为电影明星是过去的事情了。

　　Perhaps the fault lies not in our movie stars, but in ourselves. If you can’t find masterpieces amid the blockbuster flotsam, you simply aren’t looking hard enough. Film-making today, whether massively expensive or made with tiny budgets, shot on celluloid or video, is thriving artistically as much as it ever has. But today you’ll find greater diversity in the kinds of films being made, if not in the people who are making them. That’s why we, the editors of BBC Culture, decided to commission a poll of critics to determine the 100 greatest films of the 21st Century. Last year, we asked critics to name the greatest American films of all time, and we were surprised that only six films made since 2000 made the top 100. Is there a feeling that time sanctifies a classic? Perhaps. But this time, we wanted to prove that this century has given us films that will stand the test of time, that you will continue to think about and argue about if only you give them a chance and watch them.

　　也许问题并不是电影明星，而是我们自己。如果你不能在轰动一时的电影中发现杰出的作品，你只是没有好好找。今天的电影制作，不论是大制作还是小成本，用胶片还是录像带，都史无前例的兴盛。但是现在即使你不是电影制作人，你也会发现电影制作种类的多样性。这就是为什么我们BBC文化的编辑们决定让评论家票选出100部21世纪最伟大的电影。去年，我们让评论家们选出自电影问世以来，最伟大的美国电影，让我们感到吃惊的是自2000年以来，只有6部电影进入前100。是不是有一种时间使经典神圣化的感觉?也许吧。但是这一次，我们想要证明这个世纪为我们创造了能够经受时间考验的电影，值得我们思考和争论的电影，只要你给这些电影一个机会，观看他们。

　　For our poll to determine the 100 greatest American films, we surveyed 62 film critics from around the world. This time, we received responses from 177 – from every continent except Antarctica. Some are newspaper or magazine reviewers, others write primarily for websites; academics and cinema curators are well-represented too. For the purposes of this poll we have decided that a list of the greatest films of the 21st Century should include the year 2000, even though we recognise that there was no ‘Year Zero’ and that 2001 is mathematically the start of the century. Not only did we all celebrate the turn of the millennium on 31 December 1999, but the year 2000 was a landmark in global cinema, and, in particular, saw the emergence of new classics from Asia like nothing we had ever seen before.

　　当我们票选100部美国最伟大的电影的时候，我们走访了来自世界各地的62个电影评论员。这一次，我们收到了除却南极洲以外来自各个大洲的177位评论家的回复。其中有一些是报纸和杂志的评论家，其他主要是网络写手;学者和电影策展人也在其中。为了此次票选的目的，我们决定21世纪最伟大的电影名单应该包括2000年这一年，尽管我们明白并没有“零年”，而2001年才是世纪的开端。不仅是因为我们庆祝千禧年的转折1999年12月31日，而且2000年也是全球电影的里程碑，尤其是，这一年见证了来自亚洲新出现的我们从未见过的经典。

　　We believe that the new classics on this list are destined to become old classics. Whether or not that happens is ultimately up to you, the moviegoers. But one thing is certain: cinema isn’t dying, it’s evolving.

　　我们相信名单上的新经典注定会成为老经典。这是否会发生最终取决于你，喜爱电影的你们。但是有一件事是肯定的：电影不会死亡，它在发展。

　　100. Toni Erdmann (Maren Ade, 2016)

　　100.《托尼·厄德曼》(玛伦·阿德，2016)

　　100. Requiem for a Dream (Darren Aronofsky, 2000)

　　100.《梦之安魂曲》(达伦·阿罗诺夫斯基，2000)

　　100. Carlos (Olivier Assayas, 2010)

　　100.《卡洛斯》(奥立弗·阿萨亚斯，2010)

　　99. The Gleaners and I (Agnès Varda, 2000)

　　99.《拾穗者》(艾格尼丝·瓦达，2000)

　　98. Ten (Abbas Kiarostami, 2002)

　　98.《十段生命的律动》(阿巴斯·基亚罗斯塔米，2002)

　　97. White Material (Claire Denis, 2009)

　　97.《白色物质》(克莱尔·丹尼斯，2009)

　　96. Finding Nemo (Andrew Stanton, 2003)

　　96.《海底总动员》(安德鲁·施坦顿，2003)

　　95. Moonrise Kingdom (Wes Anderson, 2012)

　　95.《月升王国》(韦斯·安德森，2012)

　　94. Let the Right One In (Tomas Alfredson, 2008)

　　94.《血色入侵》(托马斯·阿尔弗莱德森，2008)

　　93. Ratatouille (Brad Bird, 2007)

　　93.《美食总动员》(布拉德·伯德，2007)

　　92. The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik, 2007)

　　92.《神枪手之死》(安德鲁·多米尼克，2007)

　　91. The Secret in Their Eyes (Juan José Campanella, 2009)

　　91.《迷情追凶》(胡安·何塞·坎帕内利亚，2009)

　　90. The Pianist (Roman Polanski, 2002)

　　90. 《钢琴师》(罗曼·波兰斯基，2002)

　　89. The Headless Woman (Lucrecia Martel, 2008)

　　89.《无头的女人》(卢奎西亚·马特尔，2008)

　　88. Spotlight (Tom McCarthy, 2015)

　　88.《聚焦》(汤姆·麦卡锡，2015)

　　87. Amélie (Jean-Pierre Jeunet, 2001)

　　87.《天使爱美丽》(让-皮埃尔·热内，2001)

　　86. Far From Heaven (Todd Haynes, 2002)

　　86.《远离天堂》(托德·海恩斯，2002)

　　85. A Prophet (Jacques Audiard, 2009)

　　85.《预言者》(雅克·欧迪亚，2009)

　　84. Her (Spike Jonze, 2013)

　　84.《她》(斯派克·琼斯，2013)

　　83. A.I. Artificial Intelligence (Steven Spielberg, 2001)

　　83.《人工智能》(斯蒂文·斯皮尔伯格，2001)

　　82. A Serious Man (Joel and Ethan Coen, 2009)

　　82.《严肃的男人》(乔尔·科恩/伊桑·科恩，2009)

　　81. Shame (Steve McQueen, 2011)

　　81.《羞耻》(史蒂夫·麦奎因，2011)