本作は、国产SMを学術的な立場から研究する心理学者の男が、国产自分の妻や部下の准教授、若き専任秘書の女、教え子の女子大生らと複雑に絡み合いそれぞれの赤裸々な欲望を描いたエロスドラマである。主演はグラビアアイドル時代、累計10万枚のDVDセールスの記録を持ち「寸止めスナック めす酒場」の江波りゅう。監督はテレビ番組やオリジナルビデオ作品でも活躍する関根和美。「カテキョのセンセ。」などの主演作品で人気の、きみと歩実が共演。ストーリー心理学博士の吉永は『近代ヨーロッパ・性の爛熟期』なる本の執筆に没頭し、妻の笑子（江波りゅう）を実験台に研究をする中で、笑子がサディストの素質を持つ事を発見する。翌日。吉永の良きパートナーの准教授・村木に昨夜の誘発快楽行為について報告すると後日、夫婦関係の修復の為にと村木の元恋人・ひとみ（あやね遥菜）を吉永の専任秘書としてあてがわれた。そんな中、大学の四年生で成績も優秀な祥子（きみと歩実）が、留学の資金集めが忙しくレポートの期限に間に合わず何とかして欲しいと吉永の元を訪ねて来るのだが…
温胜光
回复 :
温力铭
回复 :该片根据朱迪·布鲁姆撰写的同名小说改编，该书于1970年首次出版，讲述六年级小学生玛格丽特·西蒙(弗特森饰)对青春期有关的一切充满疑问，她在满世界寻找答案。她的母亲(麦克亚当斯饰)和外婆(贝茨饰)试图在这个一切都在发生变化的时期引导她。母亲和外婆也发现，人不会停止怀疑自己走的路是否正确，也不会停止思考生命中什么才是有意义的。萨弗迪饰演玛格丽特的父亲。
叶丽仪
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.
