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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.

回答：這部影視作品的場(chǎng)景布景設(shè)計(jì)獨(dú)具匠心，展現(xiàn)出獨(dú)特的美學(xué)風(fēng)格，給人留下深刻印象。

《不安》劇情設(shè)置是否出人意料？有沒(méi)有令人難忘的反轉(zhuǎn)？

回答：劇情設(shè)置充滿驚喜，充斥著出人意料的情節(jié)發(fā)展，令人印象深刻的反轉(zhuǎn)讓觀眾大呼過(guò)癮。

《不安》如果這部影視作品能與其他影視作品跨界合作，您認(rèn)為哪部作品最適合？

回答：如果這部影視作品能與其他作品跨界合作，我認(rèn)為與相同領(lǐng)域的編導(dǎo)進(jìn)行合作會(huì)非常有趣，兩部作品風(fēng)格相近，可以帶來(lái)許多有趣的元素。

《不安》如果您能改編這部影視作品的結(jié)局，您會(huì)選擇怎樣的結(jié)局？

回答：如果我能改編這部影視作品的結(jié)局，我可能會(huì)選擇一個(gè)更加開放或懸疑的結(jié)局，讓觀眾產(chǎn)生更多想象空間和討論話題。

《不安》這部影視作品中是否有一句對(duì)白或臺(tái)詞讓您印象深刻？能分享一下嗎？

回答：這部影視作品中有一句對(duì)白“你真好看”讓我印象深刻，這句話深刻表達(dá)了角色的內(nèi)心世界。

《不安》如果您能在這部影視作品中扮演一個(gè)角色，您會(huì)選擇哪個(gè)角色？為什么？

回答：如果我能在這部影視作品中扮演一個(gè)角色，我可能會(huì)選擇飾演男一號(hào)，因?yàn)檫@個(gè)角色的成長(zhǎng)歷程和情感轉(zhuǎn)折讓人動(dòng)容。

《不安》在您看來(lái)，這部影視作品最大的亮點(diǎn)是什么？

回答：在我看來(lái)，這部影視作品最大的亮點(diǎn)在于心意十足，這一特點(diǎn)讓整部作品顯得獨(dú)具魅力。

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