□o□t □n □em□test□p□rt □f Easte□□ Europe□ on th□ edges o□ a □□t□ic□l forest, Sa□, is a foreigner, far □r□m □ome□□□earchin□ f□□ his biological fathe□ Lagzdins. Wh□n a□□inor road acci□ent leads□t□□□ chance meetin□ with a pig-far□er’□ daughter□– Kirke, S□m’s prio□i□ies mus□□change if he □□□ts to survive□ Her □ind hospita□i□y i□ a s□oke□s□re□n□to□c□pt□ring him an□ making him a slav□ □□ the far□. □lone, unable t□□speak the lan□uage and□chained□up 24/7 wi□h t□e pig□, he learns to□□dapt and starts □□i□□ng□th□ confi□ence □ha□ mi□ht□l□□d □o freed□□ and true□l□□e."应该算是度(□)□危险期了,不用□守着了,□休息吧,小子□"煞星□。W□□never I see L□ Pa□ra I thin□ of it as a□□□mpan□on□piece□to Eyes □ide S□ut, or□maybe it i□ the ot□□r□wa□ ar□und. Adultery makes both films□□ick but□in different w□ys. I think Ph□ll□p□Fren□h was right on the m□□ey wh□n he poi□ted ou□ a□□iza□d □f □z thi□g □n Kubrick'□ last □ork.□Like Do□o□hy□ T□□ □□d Nicole go□thr□ugh fa□tas□es and □□□htmares an□ at the□end□Dorothy□#3□;s reas□u□in□ ch□ldi□h motto "there□#□9;s □o place□□ike□home" is ironicall□ u□□at□d to □he adult circumstantial ada□□ &quo□;t□ere's□no sex like marita□ s□x". Kubrick's ta□e is in□ellectual, h□ ne□e□ □□aves the world of id□as t□ touch the gr□und□ He □aunts □he □ud□enc□ □□rs□ wit□ an erotic mov□e a□d□then□with a thriller a□d ref□ses to de□iver eith□r of them.□H□ was married□□o his third wife for 40□years, until he di□d. Ros□ellin□ w□s □till ma□r□ed to □n□rid □e□gman when he □i□□cted La□Paura; t□ey had been □du□terous□l□□ers and their i□fidelity widely c□it□c□□ed La □aura is a tale, □ no□ri□h o□e□ T□e noi□ in□ri□u□ is so□ved an□ the □ale ha□ a happy ending. The city is□noir; the□country is tale, t□e □erri□ory wh□re childh□od is poss□ble. □□e□transition i□ o□□ra□e□ in □he□□ost regular □ay: by□car, a □ong-held sh□t taken from the f□□nt of the car as it rides into the road, a□□if we □ere ente□ing a d□□ferent di□e□sion.□Irene (Bergma□) starts the movie: we just se□ a□dark cit□ landscape but □er□voice-o□er □arration□tells □s□□f he□ angst and□informs□us th□t the story is a fl□shb□ck, hers. Ber□man&□39;s be□n cheatin□ on her hus□and. At fi□st □u□□□ i□□jus□ psychol□gical torture□but□soon expands i□□□ economic blackmail □nd t□en□grows□int□ something □lse. From b□ginning□t□ end□th□□movie focuses on what Bergma□ f□els□ every □t□e□ chara□ter i□ there to m□ke her□□eel□so□ething. Only when the □□rect□r g□ves away the plot □ef□re the main c□aracte□ can find out □o□s□h□ want us to f□□l some□hing □er□m□n still □an□9;t. □hen s□e f□nds out□ we□hav□ alre□□□ experienced □he□warped me□hanics of the sit□□t□o□ and □e m□y focus o□ce again□□n the emotional im□act it □□s□on □ergman□#39□s Irene.□In L□□Paura tre□sons are not imagined bu□ real, □□ghtmar□s are de□iberate and□the c□uple'□s ven□m suppu□□tes □□ bi□ter w□ys. Needless to s□y,□Ingr□d has a□oth□r of her rou□h□rides□in□the movies but □osse□lin□ doesn't d□re pu□□her away □s □□ □id in□Europa 51, nor does he □b□ndon □e□ t□ the i□scrutab□□ impa□sivity □f nature (Strombo□i). H□□ gift is less transcen□ent and fr□g□l□ □han th□ c□□clusion of V□aggio in Itali□□ □e just gives his wife as □uch of a fairy□tale ending a□ a real w□m□n can □av□, a hum□n landsca□□ whe□e□sh□ can finally□feel at □o□e. B□ck to the cou□try, a half □it int□ri□r s□□ne wher□ s□ado□s□□u□gest □□e c□m□ort of sl□ep□ After all, □t□#39;s the &qu□t;fairy god□other" w□o sp□□□s□the las□ word□□in the mov□e.□1□□《揽明月》□这本小说讲述了(□□一个现代版□总和古代版霸总□□廷爱情故事(🦇)。男主角们长得□□一样,内容标签包括强□、□廷、侯爵□前世今生、相爱(🍃)相□等。即便汪海洋□黄金系的李□然暴揍,启灵学院□是睁一只眼闭一只眼(□),偏向(🌲)战斗力强(🎆)悍的黄金系。