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Two young women retreat to a remote holiday home. While one of them undertakes a medical abortion, t

贝茜?布鲁姆（凯特温斯莱 Kate Winslet饰）是纽约某新闻杂志的知名记者，她接到了一个任务是去采访一名死刑犯大卫?戈尔（凯文?斯帕西 Kevin Spacey 饰）。戈尔的罪名是强奸并谋杀了康丝坦斯?哈拉维，并将于周五下午6点被处以死刑，那么布鲁姆将要采访并记录的就是戈尔人生最后的三天，而此前戈尔拒绝了一切采访。布鲁姆起初对这个任务很不以为然，但在和戈尔的接触过程中，她发现一切并非表面呈现的那么简单，于是布鲁姆决定用仅剩的三天开始寻找真相…… 电影《大卫戈尔的一生》的导演艾伦?帕克凭借该片提名2003年柏林国际电影节金熊奖。

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.

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約翰拉姆斯賓克利（John Romulus Brinkley）是「威而鋼」的先驅，電台賣藥的始祖。他是天才還是騙子，是商人還是庸醫？ 賓克利醫生本來在堪薩斯州執業，有個農夫病患深受陽痿之苦，只能羨慕公羊每天「性」致勃勃。兩人突發奇想，何不把公羊睪丸移植到農夫身上？結果農夫不僅重振雄風，還一舉得子。妙手神醫傳遍千里，賓克利成了回春救星，他不僅賺了大錢擴建醫院，還經營公羊牧場，提供患者配對選擇；甚至成立電台，宣傳他的神奇植入術。口若懸河的電台賣藥始祖，與聽眾親切互動，名醫又變成空中張老師。 導演佩妮蓮恩除了邀請各界專家來解剖賓克利這個充滿爭議的人物，更大量使用手繪動畫再現當時的事件場景。類劇情片的敘事手法不僅挑戰傳統紀錄片，也像在提醒觀眾，說不定電影本身也是一場騙局。令這部妙趣橫生的奇片，更多了思辨的空間。