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不安剧情简介
《不安》是一部聚焦于家庭情感纠葛与心理挣扎的心理剧。影片通过三个演员细腻的表演，探讨了人类内心深处的不安与恐惧。豆瓣内容: Whenever I see La Paura I think of it as a companion piec《不安》是一部聚焦于家庭情感纠葛与心理挣扎的心理剧。影片通过三个演员细腻的表演，探讨了人类内心深处的不安与恐惧。豆瓣内容: 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.首先，我们有女主角英格丽·褒曼，她饰演一位深陷婚姻危机的女性，面对着内心的情感矛盾与外界的压力。她的台词：“我试图理解他，但我自己也在迷失。”这句话展现了角色内心的挣扎与困惑，以及对伴侣和自我的双重探索。接下来是马蒂亚斯·维曼，他扮演一位试图理解妻子并解决婚姻问题的丈夫。他的台词：“我愿意为了我们的家庭付出一切。”这句话体现了角色对家庭的责任感和对解决夫妻间问题的决心。最后，雷娜特·曼哈特饰演一位心理咨询师，她以专业视角帮助主角们理解自己的情感。她的台词：“每个人都在寻找属于自己的平静，只是方式不同。”这句话揭示了角色对人性的理解与关怀，同时也反映了影片主题——寻找内心的安宁与平衡。在这部电影中，三位演员通过精湛的演技，将角色的内心世界与情感冲突展现得淋漓尽致，带领观众一同体验了一段深刻而动人的旅程。详情
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