循环绑架
6.0 |02月12日 19:38 |已完结
简介:
影片由一系列失踪、杀人、强奸、绑架等案件引出故事,作为警察的李楠一直头疼侦破线索无法找到。直到多人被绑架后,和李楠关系最亲密的王医生在绑架现场发现了一种致幻药物,关键时刻唤醒了次人格分裂的李楠,从而牵连出一场隐埋了三十年之久的仇恨大阴谋。三十年前,李楠亲生母亲美芬和亲生父亲郝爱国私通奸情生下了自己,然而郝爱国因为要与自己不爱但有家势的女人结婚,怕美芬影响自己的仕途而准备将其送出偷渡。没想到随后美芬被两渔民强奸,一时绝望的美芬跳海自杀,留下小李楠被神秘黑衣人偷抱回家抚养长大。黑衣人本与美芬青梅竹马,但被郝爱国陷害毁容,并趁机夺走占有了美芬。仇恨的种子使得黑衣人怀恨于内心深处,无意间发现美芬被渔民强奸时也咬牙狠心没管,抱走小李楠抚养后,从小让其服用一种致幻的药物,导致李楠长期不自觉的出现幻视幻听幻觉,甚至开始人格分裂。三十年后,在黑衣人潜藏的仇恨和阴谋下,一场连环绑架犯罪拉开序幕......
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更新时间:2025年10月06日
主演:英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特
简介: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.
4860
1954
不安
主演:英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特
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