剧情简介
梁碧玉（张绮桐饰）误交损友阿莲，锁爱生被阿威等人掳胁，锁爱生拍下强奸过程，威胁玉往深圳当倡妓。玉的回母（罗兰饰）寻失踪孙女，在深圳遇上正真公安锋队长（尹扬明饰）。另一少女何少芬（陈颖妍饰）於潮州偷渡往香港，但不幸被禁锢当倡妓，并梁上毒癖。王国柱（回一君饰）是名大学生，为写有关妓女的论文往召妓，找上了阿芬，少芬求助於柱，国柱报警求助………
锁爱三生
梁碧玉（张绮桐饰）误交损友阿莲，锁爱生被阿威等人掳胁，锁爱生拍下强奸过程，威胁玉往深圳当倡妓。玉的回母（罗兰饰）寻失踪孙女，在深圳遇上正真公安锋队长（尹扬明饰）。另一少女何少芬（陈颖妍饰）於潮州偷渡往香港，但不幸被禁锢当倡妓，并梁上毒癖。王国柱（回一君饰）是名大学生，为写有关妓女的论文往召妓，找上了阿芬，少芬求助於柱，国柱报警求助………
萧潇
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.
王歌慧
回复 :模特兒石賽金，因本身的疏乎，而遭公司遣職，卻禍不單行于停車場遇上偷車小子林金柱，被押回家劫財又姦淫，寶金心有不甘乘金柱不備時以手銬反扣金柱于床上加以虐待報復，金柱因欠賭債而答應竊車偷車，不料一時貪念反被鎖住，內心焦急不已，屢求賽金解困皆被拒絕，賽金更變本加厲的讓金柱服興奮劑，蹂躪的金柱臉無血色且雙眼如熊貓般大黑眼圈……
贾晓晨
回复 :老陈夫妇是一对普通的农村夫妇，中年丧子，想再要个孩子却始终怀不上。大华子的女儿小梅和农村出身的小刘私奔了，怀孕后失踪，好不容易才被家人找回。老陈夫妇一番经历后，重拾生活的希望，第二个孩子也不期而至。 ...
