剧情简介
乱伦Experimental short film depicting the life, perhaps real, perhaps a dream, of a young girl named Emi. Emi travels to the city where she encounters her counterpart, Sari, and falls in love with...a vampire
乱伦自拍
乱伦Experimental short film depicting the life, perhaps real, perhaps a dream, of a young girl named Emi. Emi travels to the city where she encounters her counterpart, Sari, and falls in love with...a vampire
赵薇
回复 :When the clever but socially-awkward Tetê joins a new school, she'll do anything to fit in. But the queen bee among her classmates has other ideas.
张祖诚
回复 :晓雯（叶秉惠 饰）是一个天真单纯的女孩，最近，她老是做一些奇奇怪怪的梦，导致她白天总是打不起精神。晓雯将自己的困惑告诉了好友瑶瑶（张淑英 饰），在瑶瑶的建议下，晓雯开始接触电台。一次偶然中，晓雯认识了一位催眠大师（江明 饰），于是，晓雯和瑶瑶打算见一见这个催眠大师，看看他能否为晓雯解惑。哪知道，在见到催眠大师后，晓雯震惊的发现，对方竟然就是自己在梦中见到的大反派。在瑶瑶的介绍之下，晓雯去看了心理医生，心理医生告诉晓雯，自己还有一个病人和晓雯有着相同的症状，那个人不是别人，正是那位催眠大师。难道晓雯和催眠大师之间，真的有牵连着前世的缘分吗？
安娜斯塔西亚
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.
