剧情简介
与男友吵架负气出走的罗雪来到深山民宿散心，机器却无意撞破一桩凶案，机器而凶案的制造者是一对看起来人畜无害的少男少女。担心消息走漏，这对诡秘男女将罗雪囚于阁楼中，随着罗雪的“男闺蜜”苏文的介入，事情变得越来越不可收拾，真相也逐渐露出水面……
机器人与弗兰克
与男友吵架负气出走的罗雪来到深山民宿散心，机器却无意撞破一桩凶案，机器而凶案的制造者是一对看起来人畜无害的少男少女。担心消息走漏，这对诡秘男女将罗雪囚于阁楼中，随着罗雪的“男闺蜜”苏文的介入，事情变得越来越不可收拾，真相也逐渐露出水面……
程骥驰
回复 :李乐青回乡创业，遭父亲反对，状况频发，事业受挫。村书记在扶贫工作中与乐青相识。在政策及村领导的帮助下，村民的思想也渐渐发生改变。在经历了一系列波折，家乡的经济在众人的共同努力下有了良好的发展。
陈嘉桦
回复 :影片从爱情和亲情的角度出发，讲述老人艾国与妻子悲欢离合的爱情、与儿子艾军从隔阂到理解的亲情故事，诠释艾国老人根植于内心半个世纪信守诺言、不忘初心的爱国情怀。
回复 :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.
