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.
真的很好看！！！导演宣传的特别用心！剧情很好！就是排片有点少，希望各大影院多宣传
不太能理解类似宗教的存在，简直是画地为牢，因此看到后面挺生气的。演员张力很足，细节拉满，杰米和俺中学时暗恋的侄女长得过于相像，看的时候很难不触景伤情。
没被发现前，每一次亲热我都提心吊胆！好怕被发现后，被那些信徒以宗教之名对她们进行迫害、扭转治疗、驱魔仪式等手段。还好剧情走向不是如此😭俩人的情感戏好有张力……
青春悸动真好！爱她就像爱信仰，真的挺想理解这种心情。最后重逢那里真的绝了，竟然看哭，那句和我们想象中的一样吗，那句你应该在那里，那句每天都在想你，那句不打算放我走了吗，太爱了
呃呃啊啊 这个世界真的没有好看的女同片了…即使女主这么好看
7.28 Jaime真的好好看，我神魂颠倒。所以私心想给5星，但咬咬牙还是按下4星（简单来说就是除了Jaime的脸我在观影过程中没有感受到更多的特别。）说回电影，其实故事也很简单，经典女同电影情节，对两个人相知相识暧昧拉扯的刻画也挺不错的。不过因为文化差异，我个人对涉及宗教信仰部分都不太能理解，如果作为背景也就罢了，但耶和华是Marika放弃和Jaime离开的重大原因，于是乎这部分关键剧情对我来说是几乎空白的理解。不过如果将关注点转移其实这还是一部不错的作品，包裹着青春期这层色彩很好地展示了同性之爱。btw，Jaime的穿搭爱入心海，已做好笔记。/7.30 不行 我还是要给五星
同样是宗教禁忌之恋，与《违命》相比更喜欢这部的细腻，影院那场戏张力很强恰到好处，看的人心跳加速。
感情细腻到位，女主漂亮，结局略拉。。。不过仍然是我看过的很不错的姬片
说实话还不如跟那个黑人朋友来的有火花……
宗教题材 感觉禁忌介入很浅 剧情一般 画面和配乐可以 女主好帅！
PS.女主的阿姨真的是一个非常温柔且温暖的人。
这种信仰和爱人之间必须要背叛一个的典型txl归宿已经虐不到我了，只会把我气到
人与人之间最真挚的感情，不因外界的阻力而消逝，即使是时间和空间也无法淡化这份感情。
厕所 turn around 那段 性张力蛮强的……
和国内大多数青春无脑恋爱片一比，简直是鹤立鸡群，自然就高分咯
吻戏好评，故事完整度还有欠缺。Jaime换成红发就是妥妥的火吻了。
演员之间奇妙的化学反应已经溢出屏幕了。看完了，真的就是光与影的艺术。真的真的就是艺术品啊！！！！！！！！！！影片到处都是不可明状的强烈悸动，剧情设计也无比真实。融入的宗教元素让人觉得有种高级的无暇感。此刻的我像尝过了细糠的猪，再也看不下同类电影……年度最佳年度最佳！！！（破音（刚看到有人说两女主现实中都是姬？难怪化学反应这么强，俩人一旦入戏那就是生活摄像头，给观众最最真实的观影视角，因为很可能演员真实恋爱的时候就这样？如果性格和角色相似的话。所以我建议以后姬片都找真姬来拍（不是
给梦中情妹jamie三星 剩下的给两位女主之间的chemistry 没结婚之前直接给我甜昏头了 最后十分钟完全没必要😢
电影院卫生间那个scene真的hold my breath
隐秘的 无法言说的 涌动着
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