剧情简介
想再婚的东国给儿子振英介绍了继母景淑，在家庭聚会上，振英看到继母的妹妹贤淑，很吃惊，就在几天前，这个女人还是自己的一夜情对象呢...
tom视频
想再婚的东国给儿子振英介绍了继母景淑，在家庭聚会上，振英看到继母的妹妹贤淑，很吃惊，就在几天前，这个女人还是自己的一夜情对象呢...
仁科
回复 :二十世纪三十年代的上海，灯红酒绿中透出重重杀机。帝国主义列强摩拳擦掌，准备对积弱的中国全面蚕食。其中尤以近邻日本，最为阴险狡诈，酝酿着惊天的阴谋。当下的上海滩，都关注着国宝失窃案。一条象征着皇权的黄金龙在南京被盗。爱国义士纷纷表态，悬赏重金寻找金龙。江湖传言，窃贼为日本国派出的雌雄大盗，而上海滩租界则是黄金龙被运往日本前的最后一站。每一个关心国家命运的人，都准备不计代价阻止金龙运出国境......
王崴
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.
阿龙正罡
回复 :故事发生在六十年代，讲述了长年在外报道第三世界内游击战争、革命演变的著名的通讯记者Jerzy (Zbigniew Zapasiewicz饰演) 生活分崩离析的全过程。角色取材于导演的好友，波兰家喻户晓的著名作家、记者Ryszard Kapuściński.影片由Jerzy在一个娱乐性脱口秀作嘉宾开场，当晚当Jerzy回到家，却发现他的妻子已带着小女儿跟一个年轻男人不辞而别。Jerzy开始挽救自己的家庭……
