年轻帅气的栗野健治（成宫宽贵饰）是一位为夜店物色小姐的街头混混，春暖一心想出人头地。他总是利用“工作之便”带不同的女孩回家过夜，春暖栗野并不知道，住在楼下的孤独自由撰稿人杉山博（皆川猿时饰）十分艳羡这样的生活。已经好几年没碰过女人的杉山一直事业无成的龟缩在家。某夜，喝得酩酊大醉的杉山遇见了萝莉装扮的胖女孩玉木小百合（村上知子饰），两人巫山云雨整夜。然而实际上玉木经常勾引男人与自己做爱，然后把过程偷拍下来做成DVD卖钱，这就是她目前的谋生之道。栗野一天在百货商场邂逅美丽的售货员友子（中村友理饰），友子在栗野的介绍下成了陪酒女郎，并决定听他的话去拍AV。妄想拯救地球的卡拉OK厅服务生宅男青柳光一（吉村崇饰），一直活在自己世界中。本片改编自直木奖获奖作家奥田英朗出版于2005年的同名小说。
零峰
回复 :在教会的仪式上，多惠（宋慧乔 饰）对于未婚夫的意外死亡表现得极为大度，她甚至原谅了肇事者——年仅17岁的智敏，还替对方写了请愿书向法官求情。然而，未婚夫的大姐却对此耿耿于怀，她甚至指责多惠没有让杀人凶手得到惩罚。临别时，大姐送给了多惠生日礼物。而这让多惠陷入了对亡夫的追忆之中：一年前的某个雨夜，未婚夫驾车载多惠一道回家，因为那一天是她的生日，他们回忆起恋爱时的美好回忆，感到无比幸福。此时，未婚夫接到了烂醉好友的电话，多惠体贴地让他先去照顾好友，自己乘公车回家。没想到，这次分别竟成为诀别。雨夜，未婚夫被智敏飞驰的摩托车撞死。闻悉噩耗的多惠，始终保持了隐忍和克制，不仅原谅了智敏，而且还以宽宥的心拍摄宽容的纪录片，并支持废除死刑的教会活动。期间，她采访了形形色色的人物，见证了人性的诸般形态。当她了解到智敏的不幸遭遇，颇感震惊……
王闯
回复 :
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.
