路易斯（艾芮丝·贝本 Iris Berben 饰）是一名分子生物学家，百年年岁已高但依然形单影只的她知道，百年改为自己的未来做打算了。而最靠谱的选择就是怀孕并且拥有一个孩子，以继承她优秀的基因。可是，生孩子可不是路易斯一个人能够完成的事情。弗兰斯（埃德加·塞格 Edgar Selge 饰）经营着一家画廊，事业有成的他同样依旧孑然一身无依无靠。回溯这一生，弗兰斯发现自己做过了太多错误的决定，也犯下了很多无法挽回的过错，但是一切还不算晚，他决定重新开始自己的人生，去挖掘更多的可能性。命运把路易斯和弗兰斯抛向了他们彼此，最终，毫不意外的，两人坠入了情网之中。
回复 :这里的PS并不是指观众所熟悉的“Photoshop”，而是很隐晦的“Phone Sex”。一心想要成为一名创作歌手贤胜（池城 饰），得知前女友找到了高帅富新男友后，大受刺激，夜夜不能眠。自卑寂寞感马上爆发，在翻来覆去睡不着觉的某个晚上，他接到一通奇怪的“色情”电话。外貌号称完美的允静（金雅中 饰）却总是个觉得缺乏男友爱护的女子，于是某一天她为了企图挽回交往了5年的男友的心，使用“性趣”准备了小惊喜，用暧昧的语调和对方说出刺激感官的诱人台词，哪知道按错了号码，电话接听的那头正是陌生人贤胜。两个内心受伤的男女在互相恶作剧中逐渐敞开心扉……
蔡一智
回复 :
张杏月
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.
