《一个人的皮影戏》讲述了生活在平静的小山村里的皮影戏传人马千里，亚洲级在摆弄了一辈子皮影之后，亚洲级本来已经忘却了皮影的功力，只作为闲来无事自娱自乐的玩意。可忽然来了一群以大学教授为首的人来考察非物质文化遗产，并认为自己的皮影可以申报，法国人也来给他拍专题片，再加上又可以给村里带来好处，还会有人来学这早已无人问津的皮影手艺，从没想过自己这点玩意也是文化，还有人请自己去大学讲课，称自己是老师、是艺术家。这时的马千里已经不再是那个和蔼可亲的老头，他真的把自己当成了不起的艺术家。随着影片情节的推进，深藏在马千里人性中的名利心被唤醒。经历了由乡村到城市一连串的磕磕绊绊，一个又一个幻影的破灭，钱没挣到，名没出了，反而受到了许多冷落和羞辱，马千里又开始怀疑皮影究竟有没有价值？为皮影这么活着有没有意义？导演借此探究当今这样的文化背景下，如何让传统文化继续生存下去。
王雁盟
回复 : 大学教授奴奴（Francesco Casale 饰）目前和瘫痪的父亲同住，为了能让辛劳一生的父亲更好的安度晚年，他聘请了一位美艳的护士照顾父亲的生活起居。随着时间的流逝，奴奴发现了父亲和护士之间的暧昧情感，而他惊讶的发掘，自己从窥视中竟然获得了异常的快感。奴奴早已结婚，但与妻子分居且感情并不是十分完满。某一日，护士偷偷的告诉奴奴，她曾看见他的妻子在午夜时分和他的父亲共处一室。奴奴找到妻子质问，却从妻子处得到了一个惊人的消息——她曾在新婚之夜被自己的父亲强奸。在痛苦和内疚中，奴奴原谅了妻子，妻子重新搬回了奴奴的住处，奴奴，妻子和父亲三人开始了新的生活。
童话演唱团
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.
葛洛丽娅艾丝特凡
回复 :伟健与薇两夫妇因感情冷淡而分居，伟健与家琪成为同事，两人日久生情，谁料伟健与薇在女儿的拉拢下，又冰释前嫌，准备复合。家琪表面接受事实，更成为了薇的好朋友，但其实另有所图，她不甘就此放弃这断恋情，薇与伟健因此也都陷入了险境之中。
