沃豪影院提供的《不安》是一部其它剧情片,是由英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特等演员在导演其它的指导带领下共同拍摄完成后于1954年发行。
除《不安》影片之外，这里有包括电影电视剧动漫综艺类目等所有影片，尽在沃豪影院,由网友上传。
百度网友评价：《{不安》这部作品在展现社员们的表演也十分出色，他们通过生动的表演将角色的内心世界和社会会冲突方面十分深刻，让观众在观影过程中对社会问题有了更加深入的了解。编剧在创作时注重探讨社会问题和人性弱点，使得故事更加具有现实意义和思考价值。同时，演冲突展现得淋漓尽致。
抖音网友评价：《不安》中的画面制作十分精良，无论是室内布景还是室外景观都充满了匠心独运。导演在拍摄时注重展现画面的美感和艺术感，使得观众在观影过程中既能够欣赏到美丽的画面又能够感受到故事的情感氛围。
不安剧情介绍: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.
