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.
男的矮矬但情商高，可美女也不是只有一张脸呀
such a cliché 这种Asian男和白女的搭配感觉也有特意讨好亚洲观众之嫌
两点：1）什么样的神经病才会在profile上放自己拿斧子和大粗绳子的照片；2）老板问“you run at the very first sign of imperfection, why didn’t you run?” 这还不简单吗，她跑到pub里结果过敏差点去世，所以女主的确跑了，是机缘巧合没跑成。有点俗是真的不过有些情节还是蛮好的，改编的歌不错，Saito看着就是个好爸爸。
太俗了有点受不了，完全拍烂了的题材，要多少有多少
反传统但又真的还不错的圣诞电影～愉快的1个多小时。
thanks for the representation
從頭到尾都是濃濃的「算法電影」的味道，甚是平庸了無新意，直接搬了《真愛至上》的經典橋段，但沒有很好的運用，片名也起得夠水的。
男主太丑了。这剧情放在上世纪90年代才比较合理吧 不敢相信是2021的片
过节片儿就是happy ending甜甜的胡说啦。。喜欢Jimmy！
冲着Jimmy O Yang看的，加上这几天一直排名第一，竟意外的发现还过得去。
这剧情看到开头就猜到结尾了
我现在是看得懂的不喜欢喜欢看的看不懂，哭。一个美女爱上了刻板印象长相亚裔男的故事，看来亚裔男有点难，希望继刻板亚裔女大红之后对男性的审美也多元起来。
网飞可不可以不要为了迎合潮流每个月都要出几部这种烂片？
最后模仿love actually那里还是俗气地被感动到了…是一个细想很丧的故事：如果josh不伪造profile，natalie根本就不会滑他，他和natalie根本就不会有开始的机会，哪怕他们灵魂一万分的契合。有点担心欧阳万成的精神状态…有点理解他移民美国后经历了什么了。但即使作为边缘亚裔男性，他依然可以在his rock bottom选择blame women…女主结尾独自站出来澄清真相和道歉确实看得不舒服
这才11月，已经到holiday season了吗！好套路啊，但每年还是会看很多，这就是holiday movie的魅力吗？
好看好看，居然很感人！还有我们的Jimmy Boy真的出息了！么么么
知道是个贺岁片，没必要吐槽梗烂俗。前十分钟都是快进的，毕竟我是来看欧阳的。不过看到最后还是觉得，这剧比前辈们的浪漫爱情喜剧还是有进步的，至少告诉大家要做自己才有机会幸福，另外现在拍电影需要政治正确到连热爱圣诞的户外用品店主老爸都要设置成亚裔了吗？看一家子亚裔戴着圣诞帽有点不习惯。不过欧阳终于做大男主了好高兴！
全员小黄男+白女的配置，小黄男的崛起。。。
this is nothing Asian about this movie other than some Asian faces
好。chick movie好久不見。對比之下亞洲人的頭圍真的要比歐美人大好多啊！
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