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Faris, who had just returned from his duty as a soldier. Instead of being warm, his return was actually greeted with a request for divorce from his wife, Ratna.

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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.

这是一个二十四岁的青年，是当地小城镇的邮局工作人员。虽然生活在二十个，和纯梦想许多令人兴奋的黄金时代之中，过着的生活，仅有的生命和青春的小小年纪的，胆小的自然难辞其咎。她不知道咖啡的味道，但她周围很天真。但谈到她的家庭，她完全不同。 名义零责任的父亲，无耻的祖父，古怪neutdungyi不可控的弟弟是老得足以成为未来无色到暗samsusaeng哥哥不衡量... 家庭男性唯一关心的只是女性和女性！ 爸爸击打来自bokbuin吐和哥哥都已经迷上父亲的咖啡店女招待烧手（？）。护理新奶奶最小的，而在给爷爷和seongyowon老师球到人的家庭饲养全权负责插迷人的水平基本上是妈妈的美容院。风，但很适合我，不诚恳yeonwoo女性鸭这个家庭要跟上...... 它涉及到生活一度似乎是男人的就看不到了法国保持yeonwoo初恋的微风。Yeonwoo找到一些匿名信，刺激模拟时代的怀旧和她已交付的邮件感到欢欣鼓舞。继续yeonwoo想知道谁不愿透露姓名的字母中的主人公，发现了她的邮局经理，磷不是别人，正是我写了一封信字符。没有准备，也没有保护yeonwoo臣服于他。但是，磷是一个已婚男人与一个明显的geoneurigo cheojasik。初恋牵引电缆也可能辱没24年的初恋，它hapil婚姻生活开始了-它只是抱着yasok同样的命运成为现实。 在爱情yeonwoo遭受场合无法做到的... 新的恋人造成的母亲。对于感官memalratdeon朋友的觉醒-这个家伙不应该模糊的激情来回哥妈妈... 家庭暴露未受保护的吹像疯了似的风遇到。为了使问题更糟糕-我爸的身体，思想和bokbuin所揭示的谁专门gamyeo由酒店高达yeonwoo关的家族史即将到来的危机崇拜骗子...... 该yeonwoo和家庭风前密封灯泡和冲突可以通过这个危机导致我们... ？ 对于一个淫秽淫荡的家庭来说，这有点奇怪而且有点特别的感情......令人愉快的故事展开！

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