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Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto there's no place like home is ironically updated to the adult circumstantial adage there's no sex like marital sex. Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the fairy godmother who speaks the last words in the movie.
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法醫學的大二學生喬卿卿（陳欣予 飾）真實身份是一個劇本旅行者，她的任務是進入劇本 中，拯救被困的玩家，將他們帶回現實世界。在系統小伊的幫助下，喬卿卿進入 一個未知劇本中，開局就在大牢里。喬卿卿得知，自己是大寧朝右相喬布施的獨 女，皇帝要納喬卿卿為妃，派太監總管福秋海去喬府頒旨，不料，當夜福秋海卻 意外死于喬府荷花池內，皇帝大怒將喬家滿門下獄。喬卿卿想出辦法自救出獄， 遇見了腹黑皇帝言君淮，言君淮無意中發現了喬卿卿破案的天賦，決定讓喬卿卿 勘破內監被殺一案。 言君淮令喬卿卿喬裝，將她帶回皇宮。喬卿卿看了案件卷宗，原來福秋海的 死狀十分詭異，身上發著綠光還漂浮在水池上空，傳言這此案是妖物作祟，喬卿卿自然不信，卻無法明白福秋海是如何到了湖中心的位置。夜里喬卿卿欲與言君 淮同去案發現場探查，而此時言君淮卻似水柔情，仿若換了一個人一般，喬卿卿通過了案發現場得到了許多線索。
金順說市州新聞丨吉林市船營區新雪季開板嘉年華啟幕
（總臺央視記者 白潔的高潮）?
