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迪萊卡和丈夫奧馬爾，平靜的生活，因她詭異、血腥的夢境被打破。在朋友的幫助下，他們決定尋求一位法力高強的女驅魔師的幫助。最終，隨著一個又一個殘酷的真相浮出水面，眾人命運各異，滑向了更可怕而未知的恐怖深淵

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案鑒｜抖音會員扣費騙局升級 警方用牙簽強行止損

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.

清朝，連考十多次也沒能中上狀元后，朱秀才（黃百鳴）氣死了老爹、氣走了老婆，自己也含冤于某一寺廟懸梁自殺，結果無法投胎，靈魂被附在了他自殺時所用的麻繩上。 時間來到1980年代，香港高中女生林小花（李麗珍）、林青青（羅明珠）和顏如玉（林珊珊）暑期旅行的路上遭遇暴風雨，為避雨，她們闖進朱秀才自殺的寺廟，雨畢，林青青于慌亂中將附有朱秀才靈魂的那根麻繩帶進住室，惹來一片驚聲尖叫，但隨著交流的深入，她們慢慢與朱秀才成為無話不談的朋友，而彼此通過對方的鼓勵，更加清楚了接下來要走的路——當然，這一過程中，沒少鬧笑話。

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圍繞嘉賓梁家輝的個人獨家記憶，記錄親子互動與陪伴的暖心花絮，呈現正片里沒有說的悄悄話。

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