抗日战争时期，关咲河北省涞源县上庄村，关咲有个放牛娃王二小（丁俨 饰），父母被鬼子杀害后他参加了儿童团。一次，八路军县大队打了一个漂亮的伏击战，吃亏的鬼子展开疯狂扫荡，到处寻找八路军后方机关和伤病员。二小主动请缨进城为伤员买药，立功心切的二小满以为完成任务会得到货郎爷爷的表扬，不料对他未经批准独自行动的做法货郎爷爷进行了批评。进山送药途中，货郎爷爷遇难牺牲，小伙伴告诉他，舅舅狗剩当了汉奸，二小不敢相信自己的耳朵。鬼子小野带人突然包围了村子，威逼乡亲们说出八路军后方机关，残忍杀害了小伙伴秫秸，二小挺身而出，说自己知道八路军在哪儿，叫小野放过众乡亲。小野信以为真......
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回复 :Kōji Shiraishi, who became famous for extraordinary horror films like "Noroi", shot this modern pinku eiga as a revenant of sorts of the classic Japanese soft sex flick, which saw its heyday in the 1970s and ’80s.Underground idol Misa is headhunted by a BDSM club for her supposed—or rather, anticipated—talents as a dominatrix. Seeing the prospect as a challenge at first, the young woman soon uses the S&M sessions to expand her erotic and sexual self-perception by several dimensions at once."Safe Word" is part of Roman Porno Now, a project by legendary Japanese studio Nikkatsu celebrating the fiftieth anniversary of its “Nikkatsu Roman Porno” brand.源自：https://poff.ee/en/film/safe-word/
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.
