涩之恋

涩之恋

HD中字

1.0 |2025年09月25日 |HD中字
简介:
志诚是一个杂志社图片主编兼摄影师,纯美的漆子美丧偶带着个女儿独自生活。大学时代的惊鸿一瞥,漆子美的名字便从此长驻心中。多年后两人的一场邂逅偏偏促成了一段爱恋,是迷梦,是真爱,还是内心封藏记忆的魔咒?当爱情来到身边时,会散发出独一无二的香味;爱情离开时,也会把所有的香味全部带走。在安城深秋初冷的街道上,在四季移转的时空背景下,一场自青年时期就已发酵的爱恋,迅速燃烧。仿佛带着魔咒的爱情渐渐变得虚幻起来,无力的抵抗,孤单的抵抗,却越陷越深。怎样留住爱情,永不失去那些迷人的香味……
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更新时间:2025年09月28日
主演:英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特
简介: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.
1940
1954
不安
主演:英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特
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