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Whene🥰/ver 😐😁I see#😑 😀😆😀La Pa🤤😊ura I thi🤫nk😅😃🤮 of it as a companion pi\ece to 🤢 🤩😍Eyes😁🤢😜🙃 Wide S😒😅hut, or mayb@e it is the ot😒🤕her w ay?🥰😘 a🤭😘[🤪😝ro🤮🤢 und. Adulte@😁😍ry makes both f😙[🤗🤮il😑ms t🤑🤕ick bu😋😅t in diff\😘erent w
!ays. I th🙄,ink Phillip Frenc🤩h was😚😘? right 😃😂😑🤣o😚=[🤒n the mon😪😏ey when he=😃😅 poi ,nt 😚;ed o😘🤕🤭ut a Wizard of Oz t🤒 :😪hing in Kubr😆🤫ic😌k#😌😄's la\🤣🤗st work😬😜. Like Dorothy, Tom and🙃 [* Nicole 😅[😜😂go through f?= 🤕a😍🙃ntasies and nightmares and at th 😗😍e end Dorothy's😆$😪😆 reas🤥😐surin😑😅g c ?hildish motto 😬,the😙😚🤤re's no place ,🤔 like hom😚)e i😔+😆😶s ironic🤒al😇/ly up 🤭dat;$🙂ed t%😂😝o🤨_$🙂 the a*😘,dult!🤑🤣 circ😜\umstantial)🙂🥰🤥 😔adage there's no ?😑\s#😛🤩🤫ex like marital sex. K🤮😙u😜😗 brick's take🙄🤥 🥰😉/😆is 😶 inte:😔llectual, he n😉🤣 🤣eve😷🤕(r le😉!av% es the world of ide🤣as 😪🙄to😀
 touch the ground. He taunts the; audie😜n)$@^ce first*🤢😀😊🤤 wit*😝+^h a😇n 😝😀🤫ero,[tic 😂😙m😃😉😂\ovie and th:😄en with a thrill🤮🙂😴er *🤗^a😐:@🤔nd refuses to d😶😍😑eliv🙃😴🤒🤤]er eithe😂r of the😒m.😝😝😛^/ He wa*😬😘😬
s marr🥰@ied to😀]^😒 hi?s third wi😊🤣😁fe😷😑 for 40 year😏_-s, un😇#t]🤢il he die😃😑🙂d. Rossel😌😗l$🤑🤨in😛]😝😙🤫i was sti😶 😏😊ll m😀😉arr%ied to Ingrid Be😁🤢;rgm 😘-/an when[+ he directed La. Paura🙄; th_😏 ey had b🤫)*;een adul
😪😚terous lovers and thei🤒🤨😗r in🤪fideli🤢😶ty wide😆😜ly crit😴\😜😜icized La P 😙😂a😙😉[ura is🤣;😄 😊😔a t`/😔ale😗😙😑, a no😔😄😝iris😔]_😒h o😚🤤😘ne.^] The noir i,😘😉^ntrigue is so😉🤔
lved and the tale ha!?🤑😒s😜 a happy ending. The cit🤮(😊y is no🤤:)😐ir; the c😁ountry is tale, the territory🤨🙃_ where chi🤔_ldhoo😷`d 🤫,🤤😆i😏😃s p🤒#ossib🤕😘le. The transition😂🙃 i😊=s operated in the most regul😊🤐😇$ar #!way b🤨😝y car, a l\`ong-held shot take)😬n from th%\😜_e fro(😅nt of the 😘🤭🤢🥰car as it ride`s into t😑😍he r-🤨oa😝😆🤒🤗d, as if w😆🤕🤨🤕e w😃@😬,(ere e😛🤒🤨ntering $ a d
ifferent😘 dime😷[nsion. 🙂 🥰Irene (Bergman) 🤔[starts the m🤭o😬😒vie we 🥰🤪 just see a dark ci😃🤩%ty landsc:😏🤫/ape$😍 🥰😄but her voi😒😏🤮.😆ce-over narration 🤕🤗tel🤮ls 😬)us of her angst`😀😌` and infor🙃😐ms us that 😀=😄]🤐the story is a flashback, her😐😅(s. 😉🤕Ber😗🙄😁gman's been che😷\🤗ati😃;n🤭g on her -
husband. At first gu🤪?🥰il
😙 😚t is j😅🤔🤮ust😝🤮 psy🤩😛😏chological to,-r🤕%😗ture but s%oon expan🤥🙄d🤥🤨🤗😅🤫s into economic blackmail 😴🤪😘🤒a*nd then grows in🤑%😬😇t!(😂/o s 😏😙@omethi😜` 😝 ng else. From 😍+🤗beg😗🙃inning to end- 😌 🙃😒🤣🤫t🤤he mov😅🤮ie focuses o🙄n😜🤨 wha%)t Be😶😋rgm🙄😍😊😷an 😋🥰 😶f🤭!😃🤑eels, every 🤭😘 😆 ot🤗:!😔h🤫😑😗e😃😜😁🤒r 😛-charac🤫/🤕?ter`!😌 is ther😅😉😁e to 🤫🤐make he😃r feel 😴😄s:-om🙄ething😬😂. Only when the - director gives away the🤐😐 plot😉😌 ` 😶be😶🤨\fore the main@😑# charact😀😊e`*r 🤥😂🤥c-😏,😬an find [🤑ou🤤 🤔t do😘es h😛e 😃want us to feel some😅thin)g Bergman still can't🤩🤐😋%😃. When )s🤕😷
he fi_nds out🤕🤔, we have alr🤫😒😐ea-😘dy😶🤣 experienced t 😄he wa:😍rped mecha!nics🙂/😄: of 😚🤗the sit😄.uat^😆😊ion an
+d we)🤫) 🤫may 🙄🤔 f;
ocus o😂nce🤢😇😆 a_!ga🤥🙄+in on 😉🤗😅the emotio🤒!na😬`l impact it has @😝🙂😚on Bergm]🤭a)😃,n's 🤗🤩😑 😑I%rene. In La Pa🤗😂[ura t_*\reas
😒=on
😷s are n.😊ot 🤔,imagined 🤑🤢but rea🤥🙄l, n😝,:`ightma😷🤤r😪😆es🥰🤮% ar e delibe😋🤥$ra😶.te and the c._!🤤ouple 🙂😐's venom suppura😴🤩😘😏tes in 🤗😋bit(🤨😬ter w🤔ays😂
😄😌. Need😐🤗😌😔]less to say,😷😴🙂 I🤒ngr😙😋id has an😝$🤨🤥other😏 of =h😁🤢e😘😶r 😌roug, h rid@*^😄es i😃n *🙄🤭$the 🤭/😅m🤢🤗\ovies 🙂_b😔/ut R😜%,🤔ossel🤐😙😗😍;lin =i do🙂]😪esn't dare p🤫 😷ut h*🙃er away as he did in🙄/😐 E😶🤨😪uropa 51,😗🙃%😃 nor,😶 does he)
] aba😜*🤤🤭ndo n 

her to;😉% t😴😚he inscrutabl+🤑)e impassivity of` 😁😘 natu🤑🙃🙃re (🤑😛%St🥰😜-😙;romboli). H🤫(🤪i@😷😑$=s
#_ g😛,ift is less tran.😔@`scendent and fragile😙😜^😶 than t🤪🥰he con`clusion of Viagg🤑😁io 🤮in Italia+😜. H😁;e just gi😋ves ++*h[😋i\😏s wif%😇e as 🤣😂m[(uch o;🤨😉(f a ]🤤fairy tale ending as%=😗🤣 a r🤣/🤤(eal w🙃o🤭 🤒ma. 🤗n can $😏h🤪😝😉😚ave, a= human lan😝😆^d😘🤢😔.sca🤣]😜😝pe where she can 🤥fi😀_🤗/nally feel at hom😉😃e. B😅ack to the🤭😇🤕😍 cou🤣🤭ntry, a (😁half@ li🤤🤕😚\t inte🤨 rio%🤗r sce🤑😛n😶 😌😏e wh🙄-🤥ere s😌😑(#hadows suggest the🤐🤔
😆 co/🙃mfort of😂🙂^ sle🤒😅(!e🤫)p😚😝@🤮. After😆😝 all, it'😛😃s 😝the f😪😛airy g😛$odm😚😙😬othe🤩🤫r w😙😉ho !.🤕spea 😅😬$ks the last words😂😬 in t😉\/h😃,e mo vie.