居住在法国北部城镇的弗莱迪（David Douche 饰）是一个无所事事的青年，青梅他的母亲靠经营小餐馆为生，青梅母亲的溺爱让弗莱迪根本不去考虑未来。他或者和三五好友骑着摩托车招摇过市，或者和女友玛莉（Marjorie Cottreel 饰）纵情享受与水之欢。在这个平静得近乎无聊的小镇，甚至死亡也无法激起太多涟漪。然而，一些阿拉伯移民却改变了弗莱迪的生活轨迹。张扬倔强的阿拉伯青年卡德（Kader Chaatouf 饰）主动向玛莉搭讪，这引起弗莱迪一伙强烈的不满……本片荣获1997年英国电影学院萨瑟兰郡奖、1997年戛纳电影节金相机奖特别提及、1997年芝加哥国际电影节国际影评人费比西奖、1997年欧洲电影节欧洲年度发现、1997年让维果最佳影片奖、1997年圣保罗国际电影节评委会奖。
王仁宏
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.
稻垣润一
回复 :Classic British comedy adapted from a James Thurber story about a tweed manufacturer's elderly accountant who devises a plan to save the company from an American takeover bid. The arrival of an efficiency expert from the States causes enough of a stir but, when it turns out to be a woman, the old-fashioned number cruncher declares war. Man-eating businesswoman, Angela Barrows is sent by her US company to Edinburgh to investigate export opportunities. She meets businessman Robert MacPherson en route and he persuades her to help bring his company into the 20th century. The staff, lead by Mr. Martin, have other ideas and a battle between the old and new business methods breaks out.
李智秀
回复 :阿豪是一家不大的运输公司的老板,他的女友是这家公司的职员,她一心爱着阿豪,很想尽快结婚,可阿豪却总是不冷不热,经常对她吆来喝去。大卫是阿豪的朋友,他正好与阿豪相反,他在家中对老婆百依百顺。大卫和阿豪相约去深圳游玩，无意中落入歹徒的色情圈套。他们拚死反抗，结果反将歹人失手打死。由于害怕受到法律的制裁，他们决定逃往越南。大陆警方通过调查发现，作案者可能属于正当防卫，因此想尽力帮助他们摆脱困境。由于钞票被人抢走，不得已他们抢了一家餐馆。最后警方抓住了他们。
