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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.

清野咲良（永濑丽子 饰）和英俊帅气的男友交往多时，直到某日才发现原来对方是个彻头彻尾的渣男，他们之间的感情不过是一场赌注而已。痛定思痛之后，咲良在生物老师（成膳任 饰）和同级生朝日悠（水泽林太郎 饰）的带领之下开始探索青春期少年少女隐秘的内心情感世界，关于“性”这件事，他们都是怎么想的呢？ 原紬（田锅梨梨花 饰）和皆川祐奈（秋田汐梨 饰）是咲良的好友，她们一个是对男生敬而远之的无性恋者，另一个是喜欢在社交软件上猎艳的交际花。三个个性迥异的女孩在放学之后相聚于咖啡厅内，开始了对性和爱的探讨。

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战国时期，世外奇人鬼谷子有两个得意弟子，一个是孙子，另一个是庞涓。庞涓先于孙膑出山，鬼谷子将失传的《孙子兵法》独传于孙膑。庞涓率魏国大军在方城与楚国军队相持不下。孙膑引用《孙子兵法》献上屋抽梯之计，庞涓大败楚军。 庞涓嫉妒孙膑的才能，笑里藏刀栽赃孙膑，孙膑被处以膑刑。庞涓的谋士公孙阅为得到美女钟离秋，把庞涓阴谋告诉了孙膑。孙膑假疾不癫，将抄录的兵法全部烧毁。钟离秋盼望孙膑不是真疯，向孙膑倾吐真情，孙膑仍疯癫不已，暗中监视孙膑的宠涓因此信以为真。 钟离秋的姐姐钟离春得知孙膑装疯的真情后只身来到孙膑的家乡齐国，请求齐国大将 军田忌解救孙膑。田忌派门客禽滑前往魏国，孙膑在禽滑的帮助下，金蝉脱壳逃离魏国。 田忌爱马，下重赌和齐王赛马，孙膑用李代桃僵之计使田忌获胜。田忌将孙膑的计策告诉了齐威王，齐威王重用孙膑。孙膑指挥齐国军队，围魏救赵，擒贼擒王，以逸待劳三败庞涓。 庞涓派公孙阅潜入齐国，公孙阅利用邹忌无中生有，使田忌和孙膑失去兵权；然后，借刀杀人，田忌、孙膑险些丧命楚国。庞涓趁火打劫逼孙膑抄录《孙子兵法》；孙膑在钟离春的帮助下，瞒天过海回到齐国。庞涓和楚王联合逼齐国交出孙膑，禽滑偷梁换柱协助孙膑和钟离春经楚国逃往韩国。 庞涓邀请韩国在成周会盟，假途伐虢，乘韩国不备，占领韩国北京战略重镇成皋。孙膑声东击西夺回成皋；然后用空城计诈退增援成皋的魏国先头部队。庞涓围困成皋，迫孙膑就范，韩军树上开花，虚张声势，打破庞涓的围困。庞涓意欲与韩军一战决胜负，孙膑抛砖引玉，重创魏军，庞涓被迫撤军回国。 齐威王临终前悔恨错待田忌和孙膑，嘱咐太子一定请回孙膑。公孙阅挑拨公子效师争夺王位，举失叛乱。庞涓混水摸鱼，占领了齐国的数座城池。太子继位，是为宣王，齐宣王请孙膑回国，韩王不放孙膑，孙膑暗渡陈仓，为韩王攻克上党，然后经赵国，返回齐国。 公孙阅用美人计迷惑齐宣王，宣王不理朝政，朝中大夫一时不知所措。钟离春装做女仆进宫，用了隐语劝说齐王。齐王欲娶钟离春为后，钟离春为了齐国，不得不暂时抛弃自己和孙膑多年的情感，反客为主做了齐国王后。宫中美女不甘心自己的失宠，采取种种手段引诱宣王，钟离春指桑骂槐，杀美女，整治后宫。孙膑借此用连环计先除掉公孙阅，然后逼邹忌辞去相国。 孙膑远交近攻联络秦国，夺回边城。调虎离山欲擒故纵除掉公子郊师。庞涓借尸还魂，让一个貌似郊师的人，借郊师之名，纠集余党，东山再起。孙膑釜底抽薪顺手牵羊关门捉贼，活捉假郊师，平息叛乱。 庞涓为调孙膑到魏国决战，率大军进攻韩国。孙膑隔岸观火，派禽滑将出兵救韩的消息告诉韩王。韩国拼命抗敌，魏韩两国一时相持不下。孙膑率齐军直逼魏国国都大梁。庞涓率军回国，迎击齐军。深入魏国腹地的孙膑，在撤退途中，逐渐养活做饭的军灶。庞涓以为齐军惧怕魏军，逃兵数量增多，带精兵日夜兼程追赶孙膑，在马陵道中了孙膑的埋伏。万箭这下，庞涓无路可逃，自杀身亡。孙膑所用的最后的一计便是走为上计。 孙膑打败庞涓，悄然离去，留下两部兵法，一部是《孙子兵法》，另一部是他自己写的《孙膑兵法》。 《孙子兵法与三十六计》，一计一集，计计相扣，在展现中国古代兵法和东方智试想文化的同时，浓彩重墨描绘出一幅二千年前中国战国时期政治、军事与各阶层不同的人物情感相交融的历史画卷。

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