在边境城市圣帕布罗，为一年一度的“墨西哥嘉年华”做准备，加金到来了：强硬，神秘和简洁。他的任务是：找到同样神秘的弗兰克雨果，显然是为了报复；还是敲诈？FBI探员雷茨也在追捕难以捉摸的雨果。镇上的每个人都是神秘的，尤其是皮拉，一个神秘的少年，跟随加金四处，并预感到他的死亡。还包括一个经典的女性法塔莱和一个古老的旋转木马与一个粉红色的马…

夏洛特（英格丽·褒曼）是某乐团杰出的钢琴演奏员，她的女儿伊娃（丽芙·乌尔曼）是一名在农村社区工作的牧师的妻子，两人之间有一道深深的感情鸿沟，七年来不曾有过任何交流。在得知夏洛特的第二任丈夫去世后，伊娃写信邀请夏洛特来同住，两人都试着友好相处，却不免又将往事重提。伊娃怨恨夏洛特没在她童年时给予她足够的爱护，只把重心放在自己的事业上，疏远了自己和另一个有高度残疾、只能发不清晰的音来与人交流的女儿海琳（莱娜·尼曼）。而夏洛特因为海琳与伊娃住在一起，加上丈夫的去世给自己造成很大打击，也是心情闷闷紧锁眉头。

故事发生在抗日战争时期的中国，格拉迪（英格丽·褒曼 Ingrid Bergman 饰）是一名非常虔诚的基督教徒，在排除了千难万险之后，她终于得到了参加传教团的资格，千里迢迢的来到中国传教。格拉迪的大本营是六福客栈，此时正值战争时期，物资极度紧缺，处处危机四伏，在这样恶劣的环境中，格拉迪依然没有放弃过自己的责任和义务。 在中国传教期间，格拉迪邂逅了名为林（尤尔根斯·库尔特 Curd Jürgens 饰）的国民党情报官，两人在乱世之中坠入了情网，林觉得此地太危险不宜久留，一直都在劝说格拉迪返回英国，被后者拒绝了。格拉迪接手了50名孤儿，她决定护送这些孩子们前往西安。

杰瑞（瑙玛·希拉 Norma Shearer 饰）和泰德（切斯特·莫里斯 Chester Morris 饰）彼此相爱，与此同时，保罗（康拉德·纳格尔 Conrad Nagel 饰）也深深的爱慕着杰瑞。最终，杰瑞决定选择泰德，而拒绝了保罗，这让保罗感到非常的伤心。心烦意乱之中，保罗开车出了车祸，导致同行的多萝西（Judith Wood 饰）毁了容。出于愧疚，保罗决定和并不爱的多萝西结婚。 一晃眼多年过去，杰瑞和泰德之间的婚姻并不是他们想象中的那么幸福美满。泰德整天就流连于各大宴会之中不着家，而杰瑞只能借酒消愁。一天，杰瑞和保罗重逢了，此时的保罗依然深爱着杰瑞，两人之间开始了一段为世理所不容的感情。

肯特·马洛（蒙哥马利·克里夫特 饰）因酒驾而入狱，并在牢中认识了抢劫犯约翰·摩根（切斯特·莫里斯 饰）和杀人犯机关枪布奇（华莱士·比里 饰）。性格软弱的马洛入狱第一晚便遭到了布奇的欺凌，随后他与其他狱友也无法和谐相处，心怀不满的他在警察密探的怂恿下想要通过抓住布奇和摩根的把柄的方式来提前出狱。性格暴躁的布奇无法忍受牢中恶劣的饮食条件，在餐厅怂恿所有犯人一起抗议，最终遭到压制，布奇也因此被送往地牢，但他心中已打定主意要设法越狱。摩根性格狡猾，在狱中一直左右逢源，并因在狱中表现良好得到了提前出狱的假释机会，就在他喜不胜收准备出狱之时，某个突然而来的事件永远改变了他的命运。

深夜的穆赫兰道发生一桩车祸，女子丽塔（劳拉·赫利 Laura Harring 饰）在车祸中失了忆。她跌跌撞撞来到一个公寓里藏身。 一名男子说他常常梦见一个叫云奇的地方，那里有个恶魔盯着他。于是就来到云奇，果真见到墙后有怪物出现，男子当场晕死。 另有一名杀手杀死了他面前 的男人，然而蹩脚的他却惹来了不少一连串的麻烦。 故事回到一个刚到好莱坞“寻梦”的女子贝蒂（娜奥米·沃茨 Naomi Watts 饰），她的姨父姨母在电影圈有广泛人缘，让贝蒂的发展如虎添翼，试镜大受好评。同时，她所住的公寓，正好是丽塔藏身之地。贝蒂收留了丽塔，二人感情融洽。面对记不起自己是谁的丽塔，贝蒂决定帮助她寻找回自己的记忆。 一名导演想自己决定新戏的女主角，却被他人强行安排人选。工作不顺意的他还发现妻子和清洁工睡在一起。 这些看似松散的事件，就像一个迷宫，引向一个让人猜不透的世界……

Tasha has the perfect house, a loving husband and a beautiful little girl. Her life could be perfect if it wasn't for Jen, her husband's ex-wife who just won't leave them alone.

In winter of 1938, Paris is crowded with refugees from the Nazis, who live in the black shadows of night, trying to evade deportation. One such is Dr. Ravic, who practices medicine illegally and stalks his old Nazi enemy Haake with murder in mind. One rainy night, Ravic meets Joan Madou, a kept woman cast adrift by her lover's sudden death. Against Ravic's better judgement, they become involved in a doomed affair; matters come to a crisis on the day war is declared.

故事发生在1937年西班牙内战时期，在纷飞的战火之中，一位来自美国的名叫罗伯特（加里·库柏 Gary Cooper 饰）的男人，他的身影时常活跃在前线，带领着西班牙人民抗击当地法西斯的残暴统治。他们炸火车打巷战，打得敌人节节败退。 这一天，罗伯特接手了一个新的任务，和一支由民兵自发组成的游击队联手，炸掉敌人前来攻打必经之路上的一座铁桥。在此过程中，罗伯特邂逅了名为玛利亚（英格丽·褒曼 Ingrid Bergman 饰）女孩。玛利亚曾经是市长的女儿，过着幸福美满的生活，然而战争摧毁了她的家庭，不仅让她失去了父母，自己也惨遭侮辱。共同的革命信念让罗伯特和玛利亚很快就走到了一起。

格利高里．拉托夫导演的一部家庭伦理片。故事描述一名家庭女教师在女主人去世后，与男主人一起照顾家中四个男孩的故事。剧情没有新意，大团圆结局不出所料。但是故事流畅，时间跨度大，由小见大反应了大萧条前后美国社会中产阶级的生活。影片唯一的亮点是英格丽．褒曼让人倾心的清新形象，她凭本片开始在美国影坛立足。苏珊．海沃德则饰演顽劣的大儿媳妇而崭露头角。

精神病院的默奇逊院长即将退休，接手的是年轻有为的爱德华大夫（格利高里·派克 Gregory Peck 饰）。医院里年轻漂亮的女医生彼特森（英格丽·褒曼 Ingrid Bergman 饰）和他相爱，然而竟发现眼前的爱人不是爱德华大夫，而真实的爱德华的秘书，还前来指出这个冒牌人士是杀害爱德华的凶手。 面对恋人扑朔迷离的身份，彼特森始终不相信他是杀人凶手，然而默奇逊院长却用精神分析法印证了“事实”。更为棘手的是，这个假爱德华也相信自己有罪，他甚至连自己是谁，经历过的事情也不知道。 彼特森对自己的判断非常坚持，她决定要帮他找出事件真相。在警察的追捕下，她带他逃到了心理分析教授的家中，展开了一联串精彩的心理分析过程，他童年的阴影和爱德华大夫被杀的真相渐渐浮出水面。

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.