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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.
阿Ling（江若琳 飾）和Janice（文詠珊 飾）是青梅竹馬長大的好朋友 ，這兩個女孩子卻是從小到大什么都能拿來斗一番。小時候是彼此的母親帶著她們斗，漸漸長大她們在學校斗，什么樣式都有，但只要放學后，二人獨處，又再回復甜膩的密友狀態。 但當她們分別以自己的方式遇上了仲謙（羅仲謙 飾）——儀表堂堂相貌英俊，不過卻都是以匪夷所思的方式遇上，都是紛紛發現了阿謙是一個小偷——于是當發現阿謙在辦電影班招收學生時，二人毫不猶豫地報名了。 一群青春少年懷著對拍電影的好奇心，后又加上對阿謙的個人迷戀，學得不亦樂乎。阿Ling和Janice好斗的特質被阿謙發現，阿謙決定以她們為主角以好斗為主題替她們拍一套電影，而游戲規則則是她們一直斗到底，看誰勝出。 這對好友繼續開始習以為常的“斗”，從這次經歷中卻發現彼此是自己絕不能失去的摯友。而阿謙當扒手的苦衷、以及其他青春同伴的人生，亦都在這次斗贏中，娓娓道來。?豆瓣
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