剧情简介
维克托是个大男子主义者，大道在他眼里，大道妻子艾达所做的一切都是理所应当的。有一天，艾达被辞退了，心中更加无比愤懑，维克托的老奶奶和朋友们于是决定演一出好戏，让维克托反思自己过去的行为。
一本大道香一蕉久在
维克托是个大男子主义者，大道在他眼里，大道妻子艾达所做的一切都是理所应当的。有一天，艾达被辞退了，心中更加无比愤懑，维克托的老奶奶和朋友们于是决定演一出好戏，让维克托反思自己过去的行为。
回复 :影片讲述了江苹驾车不慎撞死一醉汉，被游手好闲之男子阿兴发现，从此阿兴以此要胁江苹与他发生关系，江苹便找来闺中密友亦是他同性恋伴侣飞飞帮助，而江苹丈夫女秘书暗恋上司已久，便用计要杀害江苹，由此发生的错综复杂的故事。
路易斯阿姆斯特郎
回复 :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.
叶明子
回复 :希达（桑德拉·布洛克 Sandra Bullock 饰）是一名生活在纽约的年轻有为的剧作家，虽然在纽约这座大城市打拼十分的不容易，但是因为这里离她的老家非常的远，希达非常喜欢这里的生活——如此一来，她就可以远离自己古怪的母亲薇薇（艾伦·伯斯汀 Ellen Burstyn 饰）。一天，在一次采访中，希达委婉的表达了对于母亲的不满，哪知道薇薇看到了这篇报道，她怒了。薇薇的怒火一路烧到了希达的男友身上，这个男人不离不弃的追了希达7年，并且即将和她携手步入婚姻的殿堂。薇薇的好姐妹们也非常着急的想要帮助薇薇修复她和女儿之间的关系，这些人包括梅丽莎（菲奥纽拉·弗拉纳根 Fionnula Flanagan 饰）、萝丝（雪莉·奈特 Shirley Knight 饰）和卡洛（玛吉·史密斯 Maggie Smith 饰）。
