美国出版商Lewis Venable（罗伯特·卡明斯 饰）在听闻上个世纪的诗人Jeffrey Ashton的情人Juliana Borderau仍存活于世后，拔河为了找到Jeffrey遗失的情书，拔河他假装成普通的小说家，以房客身份住进Borderau家。一百零五岁的Juliana早已如风中残烛，再也不见当初诗中所描写的花容月貌，她与侄女Tina Bordereau（苏珊·海沃德 饰）一起住在宅中，过着与世隔绝的生活。侄女Tina对Lewis的到来十分不悦，一直对他冷若冰霜，与Borderau家交好的神父则劝Lewis快些搬走，以免导致悲剧，宅中的女仆更是神神秘秘，每当提到Tina小姐都惴惴不安。某个深夜，Lewis听到优美而孱弱的琴声，他循声而去，发现一个隐秘的房间，推开门后，披散着长发、身穿一袭白裙的Tina小姐出现在他面前，在那一刻，他感觉自己回到了过去，碰到了情诗中所描写的美艳卓绝的Juliana，而他自己则变成了Jeffrey。
玄武
回复 :纯情少女林慧虹因交友不慎,于郊游时遭强暴,此时万念俱灰,虽有表姐淑娟开导,仍去不掉除恶之心,以色诱不法之徒...
秋家若
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.
卢庚戌
回复 :影片主人公名叫“青木刚”(池松壮亮 饰)，妻子病故，独自抚育着8岁的儿子。青木从日本来到了兄长(小田切让 饰)居住的首尔，接触到了进口奇怪化妆品的工作。另外一方面，崔嬉序扮演的是在首尔从事艺人活动的女明星，她和所属事务所的社长发生了关系，同时也因工作环境和家庭关系而苦恼。这样的两个家庭命运开始交织，他们将共同见证奇迹发生。
