介绍：1830年的澳洲是英国流放囚犯的属地，一名英国青年（迈克尔·怀丁饰）随舅父到澳洲发展，与一对身份背景特殊的夫妇发生了一段纠缠不清的关系

介绍：妻子为何横刀伸向病榻中的丈夫？这个世界上除了自杀，还有没有一种能让自己杀了自己的可能性？不经意间打死的的蜘蛛，为何也能让自己丧命？无知少女崇拜美女老师，竟然要求老师用屁熏死自己…

介绍：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.

介绍：战争阴影还没消散的欧洲，翻译家、知识分子Ester（英格里德•图林）与妹妹Anna（冈内尔•林德布洛姆）以及Anna的儿子Johan一起坐火车回瑞典途中，患有晚期肺病的Ester发病，三人于一个言语不通的小城下车，住进一家老宾馆。　　Ester有意无意间总想偷窥Anna的生活，想对她表示好感却无从下手，而Anna一心认为Ester是她的束缚。某晚，Anna外出结识一名酒保，返回宾馆后将幻想中的性爱的过程和刺激描述给Ester听，引起对方的激烈反应，随后，她与酒保在Ester眼皮底下做爱，终引起Ester爆发，多年来深藏在两人心中的、夹杂着嫉恨与冲突的往事被重提。

介绍：故事取材自1981年轰动全美的真实谋杀案，凶手亚恩·夏安·约翰逊杀死房东后声称自己是被邪灵附体才会行凶，是美国历史上首个被告以「鬼上身」作抗辩理由的案例，因此称为「恶魔谋杀案」　　11岁男孩大卫被邪灵附体，陷入混沌状态，经常看见怪兽恶魔坐在他喜欢的摇椅上，而他身上更出现 离奇伤痕…受惊且束手无策的家人请来沃伦夫妇介入调查，他们发现大卫被43只恶魔缠身，使乖巧的他行为变得异常，例如像野兽般在地上爬行、胡言乱语甚至背诵他没有读过的圣经及《失乐园》章节…沃伦夫妇遂安排神父为大卫驱魔，可惜未见起色，而更诡异的事情接踵而来，大卫姐姐的未婚夫亚恩也开始行为异常，数月后，亚恩更以利刀刺死了房东。华伦夫妇认为亚恩行凶时被恶灵附身，原来大卫进行驱魔时，亚恩也在现场……