ARE women necessary?

有必要有女人吗？
Not with Ava around.
有了爱娃(Ava)就不用了。
Even without hair on her head or flesh on her legs, Ava has enough allure and cunning to become a classic film noir robot vixen.
即使头上没有头发，腿上没有血肉，爱娃也有足够的诱惑力、足够狡猾，可以成为经典黑色电影(film noir)里的机器毒妇。
Despite being a plastic and mesh gizmo locked in a glass cell, she can enmesh men with frightening ease.
尽管她只是一个塑料和网布包裹的机器，关在玻璃房间里，但是她却能手到擒来地引诱男人。


 

Ava is the appealing heroine, or apocalyptic villainess, of “Ex Machina,” a stylish sci-fi thriller set in the near future, written and directed by Alex Garland, a 44-year-old Brit who wrote the 2002 zombie hit “28 Days Later.”

爱娃是《机械姬》(Ex Machina)里诱人的女主角，或者说是末世的女性大反派。这部高水准的科幻惊悚片里的情景发生在不远的未来，编剧和导演都是亚历克斯·加兰(Alex Garland)，2002年的僵尸大片《惊变28天》(28 Days Later)也是由这个44岁的英国人编剧的。
Critics are divided over whether “Ex Machina” is a feminist fable or misogynistic nightmare. Like Quentin Tarantino with violence, Garland has it both ways: He offers a mocking meditation on the male obsession with man-pleasing female sex robots while showing off an array of man-pleasing female sex robots.
《机械姬》到底是女性主义寓言，还是仇视女性的噩梦，影评人莫衷一是。就像昆汀·塔伦蒂诺(Quentin Tarantino)对待暴力的方式一样，加兰也有些“两头都占”：他对男性偏执于取悦男性的女体机器人做了一番充满嘲讽意味的思索，同时又对很多取悦男人的女体机器人进行了炫耀。
Ava, played with a delicate edge by the Swedish actress and dancer Alicia Vikander, is far more than a “basic pleasure model,” as some female replicants in “Blade Runner” are known. She has wiles that are a lot more potent than the weaponized breasts of Austin Powers’s fembots.
瑞典演员和舞者艾丽西亚·维坎德(Alicia Vikander)细腻地饰演了爱娃的角色。《银翼杀手》(Blade Runner)里的一些女性复制人被形容为“用来愉悦的基本模型”，但爱娃远远超出了这个程度，她的诡计远远比《王牌大贱谍》(Austin Powers)里那些胸部变成武器的“女机器人”(fembot)要厉害。
Her Dr. Frankenstein is an abrasive Steve Jobs-type named Nathan, played by a hypnotic Oscar Isaac.
创造她的科学怪人名叫内森(Nathan)，是一个史蒂夫·乔布斯(Steve Jobs)式的粗暴人物，由迷人的奥斯卡·伊萨克(Oscar Isaac)饰演。
“Is it strange to have made something that hates you?” Ava icily asks Nathan.
“造出一个东西，她却恨你，是不是感觉很奇怪？”爱娃冷冰冰地问内森。
Nathan has a peach-fuzz coder in his firm, Caleb, fly to his hideaway in Alaska to test whether the curvy artificial-intelligence machine can outwit a nerdy human. It quickly becomes clear that Caleb, in the great film noir tradition of love-struck saps, is going to have a tough time with this silicon femme fatale. Nathan devilishly confides that Ava has a sexual “opening with a concentration of sensors” and admits that he modeled her appearance on Caleb’s online porn history.
内森让公司里一个稚嫩的程序员凯勒布(Caleb)飞到他在阿拉斯加的藏身处，来测试这个玲珑有致的人工智能机器人，会不会比人类书呆子更聪明。很快，剧情就告诉我们，凯勒布沿袭着黑色电影的经典套路，成为了痴恋的傻瓜，他会与这个硅胶做成的危险女人度过一段惊心动魄的时光。内森用魔鬼一般的口吻透露，爱娃体内有一个用于性行为的“开口”，“密集地装了很多传感器”，他还承认，爱娃的容貌是根据凯勒布在网上看过的色情电影设计的。
Garland has said that it’s “tricky” to assign gender to robots because it raises questions about whether sexuality is a component of consciousness, and he has called Ava’s femininity purely external. But, given how much her looks and charms drive the movie, he told me that it feels “oddly wrong” to call Ava “it.”