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.
由爱生爱的故事多么甜蜜啊，生活这么苦这样的心点还是多来一些吧！
特别的她 全钟瑞有压孙锡久一头诶 前半精彩 台词敢写 典型的韩国爱情小品 轻松消闲
把全钟瑞拍得很美，孙锡久的角色有点面目模糊了。五分吧
“杂志短篇情感小说影视化”，有趣也有些动人。
以前不觉得女主演技那么好，今天看到她游乐场的那场戏真的惊艳！连气得手抖的样子都演的好逼真。很有共鸣感的电影，也机缘巧合用过Tinder，并且第一次就找到爱情。甚至连恶心的初恋都差不多，甚至也非常想去偷婚礼礼金本
American Underdog: The Kurt Warner Story
完成度不错，男女主演技也在线。作为爱情喜剧堪堪及格
拍拍贫乏都市的话痨片，但是不是韩国也是县城感么，就乡村爱情。女主大概就是中医肾虚血虚感。但是男女主中间喝酒聊天的戏拍的非常有意思，金句频出。
在类型片里很难说优秀，剧情更是乏善可陈，像流水账一样，交了作业就算完事
是喜欢的全钟瑞，但不是喜欢的孙玖锡
因爲演員而看的，但劇情實在是不喜歡，不愛這種題材，下次不管誰演的都要繞道
当下新概念+套路爱情故事的典型做法，聚焦交友软件盛行之际的恋爱观，一个为了写专栏而SEX的男人，一个受过伤而享受SEX的女人，由性到爱的浪漫史。亮点是概念及几场高光的对话戏，缺点在于感情的建置太匆匆，不可信。
是我喜欢的那种浪漫轻喜剧，虽然俗套，但轻松。让我想起《我的PS搭档》。19禁的台词元素也用得比较恰当，展现了30代男女的真实困境，不想恋爱，但想被爱。全钟瑞演欲求不满的女性居然意外的古灵精怪，孙锡久也有一种性冷淡的奇怪魅力，两人的搭配既违和又融洽，怪有意思的。
好看啊；男主偷走了别人婚礼的礼金登记册好可爱、尺度正好；女主喝醉哭不是因为被网络诋毁或者背叛或被看轻，更多是期待被爱的心被狠狠泼了冷水；男主真正受到了惩罚；不是偶遇，是因为还爱着所有一直在等；结尾也一点都不煽情。整体又很轻松，喜欢
草根理智的主题虽然很普通，但作为传记电影算的上好片。
很久没看韩式爱情小品了，为这几年我心里最性感的男女演员加多一星，希望他们换个片种再合作
全钟瑞真的好有生气啊，孙锡久还是比较适合怪怪的角色，电影里的角色太有人味了。剧本就那样吧
纯冲着演员看的，就是简单的小故事。演员yyds
合格的都市小品，很出彩的男女演员，太喜欢这两位啦
两个有特色的类型演员的爱情轻喜剧，歪打正着还挺有趣。被发现自己写了他们的经历那一段，确实感受到男人的恳切和真挚的感情，心疼了一下。但多少觉得电影选角还是差一点，与整体贴合的感觉有点距离，多少影响了一下入戏。
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