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.
我给个7分吧
青春无敌，2人第一次对话就笑疯了，空气中的各种紧张。Are you coming out today？回答I‘m extremely gay. 哇哈哈。孩子妈妈也是太前卫了，sex toy那里又笑喷。7分钟天堂游戏，神助攻🤣😂🤣
原来这个AI表达的爱是男主最初向女主表达的爱呀。
也许我太老了，看见这种青春洋溢且不管不顾的爱情故事总是特别感动。不过她们是幸运的，能够得到家人、朋友、同学的接受和认可，那个可以随意洒脱并不歧视酷儿的社会，真让人羡慕啊。
我们女通讯录好惨，电影好烂，但是必须得看，因为也没有什么其他讲女通讯录的电影可看
前面的轻松气氛直接让我联想到相同题材的《爱你，西蒙 Love, Simon》了。艺术生的故事我太熟辣啊哈哈哈哈。CalArts真是梦中情校之一呀！！我做这样的作品集也能让我去吗哈哈哈？虽然电影中好像只是CalArts的夏校项目。还有墙绘部分也想到了上个月观看的《真心半解 the half of it》。青春校园同性片真的很喜欢墙绘这类plot！或者别的艺术形式咯。（豆瓣是叫《悸动》呀，我看的中文版是《心烦意乱》。）看到别人的短评想到了什么，我再补充一句：这个妈妈真的好酷呐！！！！！
The thing about art is that you can't force it.
最后居然是男主儿时送给女主的礼物，被甜到了。其他各方面都是中规中矩，及格线
果然小甜片就是会让人心情好，甜甜的女孩子也让人心情好。不得不夸一夸造型，每个人都很有特点，也很好看。再就是终于不是gay蜜了，男闺蜜真的好懂她啊。
小打小闹青春电影，演员真的都很嫩。Rowan在雪国列车第三季的造型放这个学校肯定收获一大批迷妹
5.5。青春懵懂 年少美好 充盈着粉红泡泡的成长故事 多少有点too good to be true.
1.Dillon是一个很上分的朋友，各处，和对象竞争失败后称呼对方主席女士，对方称他第一先生，两个人配一脸🥰；
Maybe she's just gabby for me. I wish.😢
男闺最佳助攻
最近疫情北京影院全线关闭，真没啥看的，我这个年纪居然看了这一部。
各方面都比较优良的青春动画。立意不深，但很合适这种小清新的喜剧动画。JC画妹子真的可以信赖，剧情虽然有点点天马行空，但是很浪漫，使人小感动，推荐
一般般吧 就.....有点像女版的那个同性片，忘了名字，好像叫爱你，啥啥来着？
dental dam是个好东西啊 女主的妈妈太酷了 甚至让人也想做个酷妈
Hey. I'm working on it.
理智的说在青春片里应该有个6分，但设置成女同的意义何在？包括里面的小情侣都得黑白配，这种完全政治正确的做法，太刻意了。还有就是，美国高中生非学习生活真的这么迷乱嘛？好像年龄越大越难以欣然接受这种价值观，中年人只想看个积极向上阳光美好的青春片。
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