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.
没看过剧集，对设定一头雾水。有点像《进击的巨人》。
人与自然和谐相处，画风像是在看英文课本，挺新颖的
主旨为母爱，挺适合全家人聚在一起看看的，尽管还没看希尔达这部剧，但是依然不影响其温馨爆表。
继裸熊之后最喜欢的动画片！大电影比之前的立意更加深刻情节也更精彩。最后的结局也太温暖了呜呜呜T T好爱这种怪诞又温暖的童话故事啊。Hilda的整个系列都特别feminism，全程看着好舒适！
没想到竟然还有个相对完整的世界观，对于一个子供向的剧场来说不易了，怎么说都比迪斯尼那些玩意儿强
大结局篇了，最后十分钟 太感人了，母爱(⑉°з°)-♡伟大
不知道后面还有续集没。
居然最后还翻上个价值。
最好看的还是第一季。这一集巨人找妈妈画面还是很美，但是故事除了后十五分钟，其他都没那么有意思了。
自大普信男能不能都滚出地球💢
最后结局格局真的很大，竟然人类和巨魔也能和平相处，所有巨魔在广场上长出各种奇奇怪怪小花的那一幕很可爱，也很感动。果然希尔达的世界永远充满了爱、包容和理解。
呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜呜希尔达超级无敌聪明勇敢女宝！😚😚😚😚😚
《希尔达与山丘之王》，承接第二季最后一集，其实就是剧集的加长版，感觉跟看剧集差不多。
一般，没看过剧，开始看有点一头雾水，不清楚人物间的关系。当普通的故事片看感觉有点普通。
看不够，好多细节还希望得到更多的解释和衔接，只有发挥自己的想象力了🥲母爱和大自然总是无声包容一切，母亲温柔的呼唤便能引起所有生物的共鸣，作为孩子并不应觉得爱是理所当然，永远记得向善，珍惜和平。
毕竟是低龄向，主线剧情完结篇还是普普通通的结束了。
虽然前面的脸谱化和刻板印象和故作姿态和某些奇怪的理由设定给我看饱了，但后面山怪进村感受母爱还是给我整泪目了。只有大魔王受伤的世界达成了。
好看的！我没记错的话，剧情承接了剧版上一季结束时的故事，结局很温暖。希望下一季赶快出！英音很好听。
果然还是长篇比较好看，比电视剧情节更加丰富，一步步推进。虽然看过漫画了，但电影表达的更加细腻。不知道会不会继续写继续拍。
As terrific as series
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