《恐懼》是由羅伯特.羅西里尼執導的劇情片，英格麗.褒曼及Mathias Wieman等參加演出，2007年在德國上映。
《恐懼》的劇情講述有夫之婦的伊蓮娜戀上了另外恩里克，此事被恩里克的前妻發現，她威脅伊蓮娜說要把此事告訴她的丈夫，以此來勒索她，而伊蓮娜不得不支付5000馬克的故事。
基本介紹
- 中文名：恐懼
- 製片地區：德國
- 導演：羅伯特.羅西里尼
- 類型：劇情
- 片長：90分鐘
- 上映時間：2007年
基本信息 ,劇情介紹,
基本信息
主演：
語言：德語
片長：暫無
上映日期：暫無
劇情介紹
每當我看到拉Paura我把這看作一個同伴大開眼戒,或者相反。通姦使這兩部電影蜱蟲,但以不同的方式。菲利普我認為法語是正確時,他指出了綠野仙蹤的庫布里克的最後工作。像多蘿西,湯姆和妮可經歷幻想和噩夢,最後多蘿西的可靠的幼稚的座右銘“沒有什麼地方像家一樣”是具有諷刺意味的是更新成人間接格言“沒有性生活就像婚姻”。庫布里克的知識,他從來沒有離開世界的思想接觸地面。他辱罵觀眾第一次與一個情色電影,然後驚悚片,拒絕交付他們中的任何一個。他娶了他的第三任妻子40年,直到他去世。·羅塞里尼還是嫁給了英格麗·褒曼當他直接拉Paura;他們被淫亂的戀人和他們的不忠廣受批評La Paura是一個故事,一個黑色的。黑色陰謀是解決了,這個故事有一個快樂的結局。城市是黑色;鄉村故事,童年的領土是可能的。轉換操作最常規的方法:通過汽車,長期汽車前面的射擊,騎到路,如果我們進入一個不同的維度。艾琳(伯格曼)開始電影:我們只看到一個黑暗的城市景觀,但她的畫外音告訴我們她的焦慮和告訴我們,這個故事是一個倒敘,她的。伯格曼是欺騙她的丈夫。內疚只是心理折磨但很快擴展到經濟勒索,然後發展成別的東西。從頭到尾伯格曼電影關注什麼感覺,其他角色可以讓她感覺到什麼。只有當導演贈送主角之前的情節可以找出他要我們感覺伯格曼仍然不能。當她發現的時候,我們已經經歷了扭曲的力學情況和我們可能再次關注情感影響它對伯格曼的艾琳。在洛杉磯Paura叛逆行為不是想像的,而是真實的,噩夢是故意和這對夫婦的毒液化膿的痛苦的方式。不用說,英格麗德的另一個她粗糙的騎在電影裡但·羅塞里尼並不敢把她作為他在歐羅巴51歲,他也沒有放棄她神秘莫測的大自然的平靜(斯)。他的禮物那么超然和脆弱的結論在義大利旅行。他只是給了他妻子的一個童話故事的結局是可以有一個真正的女人,一個人文景觀,她終於可以有賓至如歸的感覺。回到國家,半點燃室內場景陰影顯示舒適的睡眠。畢竟,這是“仙女教母”說電影裡的最後一句話。
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.
