出租车司机文章（黄子华 饰）一年前偶遇住在南丫岛的维族舞女阿曼（江希文 饰），国产自此每日接送阿曼上下班，国产心中对她充满了绮想。某夜，文章和一女子发生一夜情，谁知却因用药不当造成他变成性无能。文章听从医生建议，在阿曼的陪伴下搬到南丫岛静养。酒吧老板娘比莉（蔡少芬 饰）提供住处给文章，而比莉，曾经是阿曼的同性情人。文章在酒吧因缘际会结识了女警Ron（孙佳君 饰），性无能的文章没有在Ron醉酒时趁人之危，这令Ron对他大有兴趣。不久，阿曼的老公阿东（张达明 饰）从大陆来港，阿东自幼学画，观念颇为开放，在得知阿曼和比莉有过一段情后大胆建议比莉和他们一起生活，但遭后者坦率的回绝。Ron为了能使文章重振雄风想尽了各种办法却不见效，阿曼此时也对这个暗恋自己的男人产生了兴趣……
灭火器乐团
回复 :善良迷人的金珠分享了她的生活细节。金珠是一位比模特更性感的女演员，擅长她所做的事情。她的粉丝们为她准备了一份特别的礼物。她第一次谈论她的秘密和私生活，这与众人对她的了解大不相同。她诚实地讲述了自己的第一次“经历”和关于女性的私密私事。
张伯宏
回复 :谢谢你，让我遇见了爱情，也谢谢你，让我遇见了更好的自己。在古老的罗马街头，平凡的黄曼曼（黄尧饰）意外遇见了与自己天差地别的偶像彭柏杨（刘迅饰）。本无交集的二人却在罗马上演了一场浪漫而又惊喜的恋爱之旅，整个城市都充满爱的味道。但事情的发展并没有他们想象中的那么美好，现实生活又将两人拉回原点。时过境迁，他们心里是否还记得那天在罗马街头对彼此许下的诺言？
旺财
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.
