克里斯蒂娜（凯萨琳·萨斯 Kathrin Sass 饰）衷心拥护着社会主义东德，越光她的丈夫已经逃往西德，越光剩下她一人抚养一对儿女阿丽安娜（玛丽亚·西蒙 Maria Simon 饰）和阿历克斯（丹尼尔·布鲁赫 Daniel Brühl 饰）。1989年，阿历克斯上街游行被捕，母亲目睹了这一幕，心脏病发晕倒过去，不省人事了好一段时间。 当她醒来，她熟悉的国家已经改变——柏林墙推倒，民主德国的社会主义也随之瓦解。医生说，克里斯蒂娜不能再受刺激了。于是儿子想方设法营造一个过往的世界给母亲。母亲因此得以活在过去的民主德国里：包括邻居的衣饰，电视的新闻，换成苏联食品的罐头。然而，阿历克斯用心良苦不可能掩饰庞大的现实世界。终于，儿子以自己的方式去和母亲讲述东德的变迁。
男孩地带
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.
周成龙
回复 :模特兒石賽金，因本身的疏乎，而遭公司遣職，卻禍不單行于停車場遇上偷車小子林金柱，被押回家劫財又姦淫，寶金心有不甘乘金柱不備時以手銬反扣金柱于床上加以虐待報復，金柱因欠賭債而答應竊車偷車，不料一時貪念反被鎖住，內心焦急不已，屢求賽金解困皆被拒絕，賽金更變本加厲的讓金柱服興奮劑，蹂躪的金柱臉無血色且雙眼如熊貓般大黑眼圈……
陈冠茜
回复 :五月（徐忻辰 饰）和八月（裘立尔 饰）是一对感情十分要好的姐妹，从小生活在温暖的家庭之中，日子过得幸福美满。战争的到来在瞬间粉碎了两姐妹的家庭，父亲死了，整个家全靠坚强的母亲（叶童 饰）一人撑着。祸不单行，八月生病高烧，母亲冒着危险来到被日军封锁的街道找药，之后不幸牺牲，侥幸逃脱的五月带着妹妹来到了教会建造的难民营之中。难民营的生活艰苦又充满了危险，终于，五月和八月盼来了亲人。跟随着舅舅，两姐妹来到了镇江并认识了同她们有着相似遭遇的男孩方毅（薛斌 饰）。很快，镇江也沦陷了，一次又一次陷入绝境的五月和八月这一次能够从险境中逃脱吗？
