不安 已完结

片名:《不安》

类型:剧情片

上映时间:1954

上映地区:其它

导演:罗伯托·罗西里尼

主演:英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特

集数: 更新至0集

语言:其它

【勤迩斯影院】推荐不安完整版在线观看全集，不安由知名导演罗伯托·罗西里尼倾情执导拍摄，运用色彩和光影的对比，为影片营造出独特的氛围和视觉效果，并且在不安的剧情上构思独特，让整个故事情节紧凑，让观众感受到不同的观影体验。

《不安》观后点评：不安的特效制作非常精良，令人耳目一新，不安对每个场景设计非常精细，每一个场景都如画一般美丽，非常好看，让每个镜头都非常出彩，令人印象深刻。

《不安》抖音网友点评：不安的演员是英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特，他们用出色的演技将不安的角色塑造得栩栩如生；不安的拍摄手法很有创意，给人耳目一新的感觉。

不安的剧情讲述了：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.