7年前，姬川杰克（理查•基尔 饰）丢下了自己已怀孕的妻子劳瑞（朱迪•福斯特 饰）参加了美国内战。7年来毫无音讯，姬川劳瑞承担起照顾孩子照顾家庭的责任。7年后的某天，杰克突然出现了。而且这时候的杰克，已不再是粗鲁刻薄，简直像变了一个人似的。本来就是地主的他带着村民一起勤奋耕作，希望尽力提高大家的生活水平。可是劳瑞初感到这种幸福感不久，事情发生了变化。杰克被控告与一宗谋杀案有关，当局要拘捕杰克，沉默的杰克并没有反抗，他接受拘捕。事实上，这是假的杰克，他是真杰克的教师朋友，真正的杰克早已死去了。假杰克愿意承受罪名，是因为他要把杰克最美好的一面留在大家的心中……
李双江
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.
张曼玉
回复 :「一千零一夜」最终曲《一千零一夜III：迷醉之人》，皇后雪哈拉莎德再次现身，因担心失去说故事的能力，计画逃离皇宫，并述说最后的故事。米格尔戈麦斯改以文字说明故事背景，将影像赋予诗意，令此片富有文学性与民族色彩，并透过纪录片式的观察，呈现荒谬之中的凄凉写实，为当代葡萄牙留下了不可言喻的浮世意象。
林佳蓉
回复 :香港导演云翔第6部作品。多梦的文艺青年高劲轩，遇见苏格拉底式的老师明镜台，深深受到一种莫名的吸引，和女友祖儿的世界，从此天旋地转。在这个寻找内心真爱和性向依归的青涩旅程中，劲轩时不时感觉自己受着三岛由纪夫文学世界的召唤，那个目的地，似近实远，似远实近，瑰丽、壮烈，让他对明镜台有了一种飞蛾扑火般的憧憬。再加入美丽多情善解人意的神秘女郎诗韵，无界的精神清境，缠绵着凡尘的爱欲轮迴。凭着对艺术的热爱和智慧的追求，是否足以在溷沌俗世中活出诗样的人生？她和他和他和她的不羁王国，不就是你们一直不敢追寻的乌托邦？
