德贵家的（倪萍）原本有名有姓，疯狂是随在北方务工的男人德贵来到安徽某个小镇后，疯狂她才被当地人按习俗称为德贵家的。德贵家的三十几岁时，仍无法生育，经好友金梅（艾丽娅）劝说，她抱养了女孩仙仙。为求丈夫在外平安，德贵家的像当地媳妇一样，在堂屋外置了一口注满清水的大缸，不想德贵还是给摔死了，镇里人就此议论纷纷，说仙仙有邪气。但德贵家的坚持认为孩子无辜，立下不进邻里家门的誓言。日子虽过得清苦，德贵家的对仙仙却是好到不能再好，甚至金梅担心她吃不消悄悄把仙仙送进孤儿院时，她不惜与金梅“翻脸”。省吃俭用一切为仙仙之外，德贵家的梦想仙仙能像仙女一样跳脚尖舞（芭蕾），可是由于她一直背着仙仙干活不让她下地，仙仙长到四岁还不会走路。某次意外事件“刺激”了仙仙，德贵家的自编的“神仙舞”和歌声自此充满母女两人的生活。长大后的仙仙（李璐）得知自己的身世后，深深为拥有这样一位母亲而骄傲，其后，她也圆了母亲自她小时便在她身上种下的梦。
邓一君
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.
樊波
回复 :钢琴家普拉东（Oleg Basilashvili 奥列格•巴西拉什维利 饰）的妻子开车撞死了人，为了妻子，普拉东甘愿顶罪。在审判前的一个星期，普拉东赶回家见父亲的一面。途中，他经过了一个普通的、喧哗的车站。车站餐厅里，普拉东和美丽女服务薇拉（Lyudmila Gurchenko 留德米拉•古尔琴科 饰）相遇了。两人一开始因为普拉东抱怨餐厅的服务而互相结怨，尔后，普拉东和薇拉越聊越投契，普拉东还到了薇拉家作客。两人的爱情之火就在点点滴滴中点燃了，最终步入爱河。普拉东入狱了。在难得的家属探视日，薇拉千里迢迢来看普拉东了。两人在监狱外的木屋内度过了难忘的一晚。
双江
回复 :2003年的中国，社会变革激荡，人们野心勃勃。当时互联网尚未席卷一切，纸媒为王。没钱、没学历、没背景的“三无青年”韩东（白客 饰）怀揣新闻理想与女友小竹（苗苗 饰）开始了北漂生涯，期间在知名记者黄江（张颂文 饰）的帮助下进入报社实习，在一次案件调查中，韩东发现了背后更大的真相。一边是光明的前途，一边是心中的正义，韩东在两难中选择挺身而出……
