剧情简介
在“浪子回头”的好男人魏航的细心关爱呵护下，欧美孙欣相信魏航就是那个可以和她共度一生的男人而魏航也用自己的行动排除来自各个方面的质疑甚至打击，欧美真心爱着孙欣，最终二人终于走在一起。
欧美性爱怡红院
在“浪子回头”的好男人魏航的细心关爱呵护下，欧美孙欣相信魏航就是那个可以和她共度一生的男人而魏航也用自己的行动排除来自各个方面的质疑甚至打击，欧美真心爱着孙欣，最终二人终于走在一起。
回复 :在濑户的一座小镇，人民的生活波澜不惊。驻地警察友川（奥田瑛二 饰）终日骑着自行车，穿梭在小镇曲折狭窄的巷道间，帮助居民们解决各种各样的问题，间或来一场投怀送抱的艳遇。某天，友川结识了一名可爱的女孩子，他为她取名眉子（小沢まゆ 饰）。短暂的欢愉过后，友川怅然若失，虽然在之后的日子里四下寻找眉子，最终却一无所获。偶然的机缘，他重逢眉子，然而她竟是一个只有15岁的初中生。深深的爱恋冲破了世俗的枷锁，友川和眉子陷入一场没有未来的忘年恋中……本片为演员奥田瑛二的导演处女作，改编自連城三紀彦的同名短篇小说，并荣获第17届巴黎电影节最佳女主角奖、第7届俄罗斯国际电影节最佳女主角奖等多个国际大奖。
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.
回复 :
