1966年，祸国殃民的十年动乱在林彪集团和四人帮的操纵下拉开沉重的帷幕。刘少奇、彭德怀、贺龙等为新中国建立立下汗马功劳的开国元勋相继遭到冲击，而曾经战火中建立起来的革命友情也在变态的运动中扭曲变质。胡子元帅贺龙遭到司令员马玉德的迫害，马以“贺龙专案组”副组长的身份罗织罪名，陷害忠良。其儿子马洪湖童年时十分钦佩贺龙元帅，如今也在革命浪潮中是非不分，加入了批斗元帅的行列中。洪湖的未婚妻吴桐花是烈士后代，她毫不怀疑元帅的为人，想尽各种办法营救贺龙。而政治立场的不同也造成桐花和马家的决裂。一代名将，在丧失人性的斗争中磨砺着最后的闪耀光辉……
安若儿
回复 :KEN（妻夫木聪 饰）是日本高三学生，作风懒散叛逆成为所有老师的眼中钉。他有两个死党同学山田正（安藤政信 饰）和岩濑学（金井勇太 饰），亦是问题少年，他们的口头禅是“解放少女”，喜欢偷窥女生做操，追求漂亮美眉。三人甚至成立了一个“伊亚亚”俱乐部，举办 演唱会，拍实验电影，请心仪的女生来担任主角。拍摄那天，他们干脆在学校天台挂上横幅“想象力正在夺权”。原本只是出于拍摄和追女仔需要的一帮少年，此时以外引发了一场骚动，成为了一次误打误撞的革命运动。风雨再大，少年们仍然自觉胜利，他们心中的实验电影还在继续呢。
蒋进兴
回复 :一个女孩子出身于富裕家庭，在乡间长大，后来上了体育学ddd。很快被老师发现她短跑成绩突出，于是她成了体育场上的高手。一时间，各大报纸不断地吹捧她，又有号称“运动家”的人主动追求。面对这突如其来的灯红酒绿的生活，她有些飘飘然，有些骄傲自满，不思进取，成绩开始下降。后来，她终于摆脱了这些本不属于她的东西，重新认识自我，又取得了新的成功。她亲眼看到了一个女运动员带病坚持参加比赛而最终死去的事情，她受到很大的震动，放弃了“体育皇后”的宝座，投身于她认为是真正的体育事业中。
田原俊彦
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.
