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.
除了女主的颜和气质，其它完全不值一看，包括她肤浅的表面化的表演。另外，男主的选角非常不好，“伊恩”即使蓄了胡须，一看也是30岁以下的年轻人，完全不符合角色人设。
导演三观太扭曲，很多场景拍的不错，其他一无是处
废物 竟然被你活下来了 女主啥也不是 灭他族啊！
剧情什么的我不管了，总而言之，Lily Krug实在很赞
海报以为是什么黑吃黑剧情呢 又一条疯狗 不过女主确实漂亮
没有那么容易吧，导演想得太简单了，四星给女主。太美了。
是什么家装公司赞助的电影吗？卡子哥那么壮还打不过一个蛇蝎美人，离谱。
同为冰雪场地，跟冰路营救比，刺激、紧张程度完败，这还是末世战斗呢，哎
三星给电影，一星给女主的颜值，剧情。。。总感觉怪怪的，感觉到处是bug，又到处挺合理。反正看得我很气，这男的太窝囊了，你要把女主搞的战斗能力厉害点，我都没那么气
看了预告就对女主一见钟情
最后一段挺有压迫感的，女主很漂亮，两个反派内讧得莫名其妙扣一星
一星给女主颜值，导演选角能走点心不，这对夫妻的女儿明显和爹妈不是一个人种的吧，剧情啥的也没啥逻辑，纯纯的为了女主的美颜撑下去的。
我是来看评论的，大部分都是赞美这个女主的🤭
套路就是美国的《恐怖鸡》，但气氛演技都远不如，唯一加分的就是女主的颜值身材。
本来还期待是一部气质冷峻的片子，不知所谓。
女主很漂亮。
老套的仙人跳情节，女主角实在太漂亮，莉莉·库拉格，多打一颗星。
反正看这片别考虑太多逻辑。没啥不能白天的时候穿白色，晚上穿黑色？为啥和狙击手合作的时候敌人不一早朝他们扔炸弹？。。。
小成本战争片，网飞经典套路，不过这部的剧情真的太常见了，总之我看睡着了。。。
剧情老套没有逻辑，低配《寄生虫》，有几处画面和配乐挺阴间的，有种《黑暗面》的感觉，单纯就当教育片看啰，告诉我们要远离来历不明的年轻女性
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