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.

　　贝斯手克里斯托弗（亨利·方达 Henry Fonda 饰）与妻子萝丝（维拉·迈尔斯 Vera Miles 饰）过着平静的生活，虽然经济并不宽裕，但幸福的婚姻和可爱的孩子们让克里斯托弗觉得人生再无遗憾。萝丝需要一笔钱去治疗牙痛，囊中羞涩的克里斯托弗决定贷款，而当他拿着单据来到银行后，命运跟他开了一个天大的玩笑。
　　不明就里的克里斯托弗因为抢劫银行被警方逮捕，随着调查的深入，更多对于他的指控浮出了水面，虽然对这些指控毫不知情，但面对确凿的证据和证人，克里斯托弗哑口无言。在被保释后，克里斯托弗和萝丝委托律师开始调查整个事件的来龙去脉，可发现的所有线索都对克里斯托弗不利。正当夫妻两人开始绝望之时，事情出现的转机。

　　影片男主角的原型是一位伊朗裔，加拿大籍的记者巴哈里（Maziar Bahari）。2009年，巴哈里作为美国《新闻周刊》（Newsweek）驻伊朗记者，报道当年的伊朗总统大选。6月13日，选举委员会宣布艾哈迈迪-内贾德（Mahmoud Ahmadinejad）获胜后，其竞争对手的支持者上街游行，巴哈里拍下了这场被称为“伊朗绿色革命”的抗议活动。6月21日，他从德黑兰的家中被带走，经历118天的监禁后获释。
　　其后巴哈里将自己的这段经历写成回忆录《Then They Came for Me》，于2011年出版。在书中，他描述自己遭到折磨和审讯，对方视他为潜入伊朗的间谍。由于双眼被蒙住，看不清提审人的面容，只闻到他身上的玫瑰香水味，巴哈里在书中就以“玫瑰香水”（Rosewater）称呼对方，影片的片名也是由此而来。

玲（大冢爱 饰）20岁那年从乡下来到了东京，想于东京寻找自己的梦想。她在一间叫“梦之藏”的居酒屋打工，在那里她认识了几个好朋友：喜欢画画的真希（小林真央 饰）；想结婚的凉子（真木阳子 饰）；还有喜欢演戏的广野（松本莉绪 饰）。
　　本来是乐队吉他手的隆司（瑛太 饰）表示喜欢玲的声音而邀请了玲加入自己的乐队，但他自己却加入了另外的乐队。隆司离开后，作为乐队主音的玲一直带领着自己的乐队向前走。在凉子的婚礼上，她从身处纽约的真希告知，隆司也在纽约，但已经没有继续音乐事业了。原来隆司所在的乐队，传出了暴力事件，面临解散。
　　得知消息的玲，决定前往纽约寻找她隆司。得到队友支持前往纽约的玲，最终找到了隆司，却遭到隆司拒之门外…

上海：21世纪全球贸易中心。每天都有更多的外籍商人来到上海，渴望了解到中国做生意的方式。这些外国人中有我们的同事，老板，邻居，客户……
当雄心勃勃的纽约律师山姆（丹尼尔·海尼 Daniel Henney 饰）被意外的派到上海时，他立即陷入了法律泥潭，使他差点丢了工作。但随着一位聪明性感的助理（朱珠 饰），一个机灵的上海记者（耿乐 饰），一位漂亮的迁居专家（伊丽莎·库伯 Eliza Coupe 饰），以及一个人脉广泛的老前辈（比尔·帕克斯顿 Bill Paxton 饰）的帮助，山姆可能有机会保住工作，寻找到爱情，并且学着去欣赏他美好的故乡…

著名酒庄的继承人与朴素踏实的儿时好友交换人生，只为证明自己的桃花运可不是只拜金钱所赐。