剧情简介
本片是香港导演陈果妓女三部曲最后一部（《榴莲飘飘》，芳华《香港有个荷里活》），芳华本片讲述了一个奇特的妓女在香港的一条船上生活的故事。她有着超乎常人的性欲和三个丈夫，她将自己地献身于她的工作。用性来讽刺时代，这部电影充满了强烈的欲望。
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本片是香港导演陈果妓女三部曲最后一部（《榴莲飘飘》，芳华《香港有个荷里活》），芳华本片讲述了一个奇特的妓女在香港的一条船上生活的故事。她有着超乎常人的性欲和三个丈夫，她将自己地献身于她的工作。用性来讽刺时代，这部电影充满了强烈的欲望。
辉星
回复 :陈宝莲踏出赤裸第一步，拍出坦荡第一部！珠宝店东何霖面临破产，遂计划打劫自己之店以骗取保金。森、大头及东仔被选中来港，可惜行劫事败。竟遭东主何霖灭口，只剩森一人逃离魔拳，躲到其青梅竹马的知己阿虹处，无奈地，林却发现阿虹沦为妓女，逐决意救她逃出火海，与此同时，森的行踪又给东主何霖发现...
张世
回复 :智素（李甄 饰）是一名天真无邪的十岁少女，有一个活泼可爱的弟弟智石（洪恩泽 饰），在爸爸和妈妈正贤（姜惠贞 饰）的精心呵护下，姐弟两快乐而又茁壮的成长着。然而，某一日，幸福的日子突然画下了句点，爸爸离家出走，正贤带着两个孩子失去了唯一能够遮风避雨的归宿。智素一时间无 法接受这巨大的打击，她想尽一切办法，只希望能够找到爸爸，找回曾经拥有的生活。情急之下，她想到了一个损招，那就是绑架老奶奶（金惠子 饰）的狗，以此为筹码获得巨额赎金。年幼的少女是如此的天真，她精心策划的绑票计划能否顺利实施呢？她又能否最终实现自己的梦想呢？
凯特莱恩
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.
