简介：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.

简介：影片基本还原了《The Apology(苏格拉底自辩篇)》和《Crito(克里托篇)》。剧的后半段，苏格拉底和雷托辩论的那场戏是原文的删减版，基本涵盖了自辩篇的重要思想。　　一. 反驳“腐蚀青年人的思想”的罪名　　二.反驳“无神论者”罪名　　以及关于“他最有智慧”和对于死亡的看法。　　可是在判决死刑后，与帮助其逃狱的好友克利托的对话却少了一大截，不过影片到了结尾，更多应该渲染苏格拉底的死前氛围，而不是以高谈阔论来破坏悲剧气氛。

简介：故事发生在第二次世界大战结束之际，位于西西里的一座小镇中，居民们都沉浸在热烈的庆典气氛里，借着这个空档，魔鬼乔装打扮混入其中，来到了镇上照相馆主人切雷斯提诺（　　Gennaro Pisano 饰）的家中，要求借住，善良的切雷斯提诺接待了他。魔鬼在切雷斯提诺店里的一台照相机上施了法术，所有被这台照相机拍摄到的人都将死亡。　　发现了这一秘密的切雷斯提诺既害怕又兴奋，他将这个秘密告诉了镇上的神父和镇长，可是没有人愿意相信他所言，甚至认为他已经疯了。连连遭到否定和嘲笑，切雷斯提诺的内心渐渐黑化，他发现，这台相机可以帮助自己“惩恶扬善”。

简介：In a series of simple and joyous vignettes, director Roberto Rossellini and co-writer Federico Fellini lovingly convey the universal teachings of the People's Saint humility, compassion, faith, and sacrifice. Gorgeously photographed to evoke the medieval paintings of Saint Francis's time, and cast with monks from the Nocera Inferiore Monastery, The Flowers of St. Francis is a timeless and moving portrait of the search for spiritual enlightenment.