陆雪妮（余男 饰）是一名日企的高管。最近，满岛日本母亲的离世使她身心倍受打击，满岛白天神情恍惚，夜里经常被骇人的梦魇惊醒。原来，母亲是战争留下的遗孤，多年来，雪妮一直和孤独的母亲及年幼的儿子步步（邵何之杰 饰）相依为命，身边除了一个可以信赖的律师（于谦 饰）外，她再没有可以说知心话的人。就在母亲的后事处理完结时，一个东北老太太的突然出现又在雪妮的心头打响惊雷，原来她才是自己的生身母亲，雪妮不得不接受这个严酷的现实，但五岁的儿子并不喜欢这个来自农村的老太太，一家人在磨合中相处着。为照顾母亲和儿子的感受，雪妮准备换一下目前的工作。在一次例行体检中，母子的血缘关系却发生了惊天大逆转......
韩信
回复 :19世纪80年代，美国帝国主义四出扩张，对殖民地进行疯狂的洗掠。一时间，殖民地人民纷纷建立起了反抗军，对抗美帝国主义。墨西哥当时也是美帝的殖民地，萨拉（萨尔玛?海耶克 Salma Hayek 饰）是当地一位银行家的女儿，虽然自小就被精心培养成标准的“欧洲淑女”。但萨拉却是一身豪气侠胆，被美帝夺取了家里的财产后，萨拉开始了武装抢劫美帝的银行之旅。玛丽亚（佩内洛普?克鲁兹 Penélope Cruz 饰）是当地一户农户的女儿，因父亲被美兵殴打伤重，点燃了她对美帝的仇恨之火，玛丽亚也开始抢劫美帝的银行。两个女孩在一次抢劫银行时偶遇了，从此她们结束了单打独斗，联合起来共同对付美帝。
王睿
回复 : 少年李莲英（梁思浩饰）带着未净干净身的秘密入宫，偶然让宫女冬青发现自己的秘密，二人于是暗结珠胎。遇上了自己喜爱的女人，同时也遇上了自己的死敌大太监安德海。凭着自己的聪明伶俐，李莲英很快被安排去侍候年少的皇上同治（宋本中饰），二人每天嬉戏打闹，还去偷窥同治暗恋的宫女桂莲（翁虹饰）沐浴。严厉的慈禧无法容忍儿子的荒唐行为，又在宠臣安德海的怂恿下，同治不得不在她安排下选秀女。在选秀女当天，同治又违背母后的意愿选了蒙古女子为皇后，大怒的慈禧还有心怀鬼胎的安德海到底会如何整治同治与李莲英呢？
陈德志
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.
