Stanley Kubrick, Terrance Malick, Nicholas Roeg.

斯坦利·库布里克，特伦斯·马利克，尼古拉斯·罗格。

There are only a few directors who have truly developed their own cinematic language like Terrence Malick has.

像泰伦斯·马利克这样真正发展出自己的电影语言的导演屈指可数。

Long before his first feature film, Malick was actually on his way of becoming a philosopher.

早在他的第一部故事片之前，马利克就已经走上了成为哲学家的道路。

Actually, let's not forget: Terrence Malick did not become a philosopher, he became a filmmaker.

事实上，我们不要忘记：泰伦斯·马利克并没有成为哲学家，他成为了一名电影制作人。

Our guests will be sitting longer than a terrence malick movie.

我们的客人坐着的时间 够看一部泰伦马利克的电影了。

Let's see how the work of Terrence Malick not only captures, but also clarifies and contributes to Heidegger's ideas.

让我们来看看泰伦斯·马利克的作品是如何不仅抓住，而且澄清和推进海德格尔的思想的。

But all of a sudden, Malick spotted a bird and the entire scene was put on hold to film this one creature.

但突然间，马利克发现了一只鸟，整个场景都被搁置下来拍摄这只生物。

And I can imagine Malick realized this as well, and therefore set out to explore a different kind of language.

我可以想象马利克也意识到了这一点，因此他开始探索一种不同的语言。

And this, I think, is what Malick really underlines in his work.

我认为，这就是马力克在他的作品中真正强调的。

And this is exactly what Malick seeks to communicate through cinema.

而这正是马力克试图通过电影传达的。

Now we can also imagine why Malick chose the language of cinema instead of philosophy.

现在我们也可以想象为什么马力克选择了电影的语言而不是哲学。

Malick's characters are almost always introduced as practical beings in a practical world: a garbage collector, a factory worker, a soldier, architect, screenwriter, farmer.

马力克的角色几乎总是作为现实世界中的现实人物出现：垃圾收集者，工厂工人，士兵，建筑师，编剧，农民。

It dulls us into a kind of unconsciousness, and for Heidegger as well as for Malick, this seems to be the great illness of who we are.

它使我们陷入一种无意识，对于海德格尔和马力克来说，这似乎是关于我们是谁的一大疾病。

And this is another thing that Malick really puts to the foreground in his work, that being, our own role in the construction of meaning.

这是马利克在他的作品中强调的另一件事，那就是，我们自己在意义构建中的作用。

As Holly expressed earlier, this feeling is defined by a particular type of dread or anxiety, one that all of Malick's characters experience at one point.

正如霍莉之前所说，这种感觉是由一种特定类型的恐惧或焦虑所定义的，这是马力克所有角色都经历过的。

And this shift from philosophy to cinema, I think, should be taken into account, lest we make a mere overview of Heidegger's ideas as they are represented in Malick's films.

我认为，这种从哲学到电影的转变应该被考虑在内，以免我们仅仅只对海德格尔的思想进行概述，因为它们在马力克的电影中得到了体现。

So let's take a closer look at how Malick explores this loss of self and the subsequent quest for meaning that follows it.

所以，让我来看看马尔克是如何在电影中探索这种随着自我的丧失而来的对意义的探索。

To symbolize the insidiousness of this kind of unconsciousness, Malick also employs the motif of snakes which, from a biblical perspective, represent the seduction into sin and evil.

为了象征这种无意识的阴险之处，马利克还使用了蛇的母题，从圣经的角度来看，蛇代表着罪恶和邪恶的诱惑。

With this year's release of A Hidden Life, the true story of an Austrian farmer who was prosecuted for refusing to fight for the Nazis, critics have hailed Malick's return to form.

今年上映的《隐秘的生活》讲述了一个奥地利农民因拒绝为纳粹作战而被起诉的真实故事，评论家们对马力克的回归表示欢迎。

One of the most recurring elements in Malick's work is his clear distinction between the world of nature, and the world of man, or more specifically; the world of technology.

在马利克的作品中反复出现的元素之一是他对自然世界和人类世界的明确区分，或者更具体地说；科技的世界。