不安电影是一部上映于1954年的剧情片，在其它上映后获得了电影迷的一致好评，其中主演英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特等人也有不孰的表现，《不安》电影的整体故事节奏进展有序，《不安》背景人物、矛盾冲突都在电影中交代清楚了，《不安》的台词也蛮有梗有趣的，同时对于《不安》电影来说，至关重要的是《不安》导演罗伯托·罗西里尼将专业演员和非专业演员放在一起，这种对演员和表演直觉一般的把握，证明了罗伯托·罗西里尼的导演功力已经炉火纯青了。
如果你查看《不安》的演职员表；相信提起导演罗伯托·罗西里尼执导的特点，从《不安》里的第一场对话戏中，就可以看出导演罗伯托·罗西里尼对演员的要求是非常高的，《不安》也有一段纯对话戏，通过不安主演你来我往的深入聊天，来拉近观众与不安人物之间的关系。在《不安》中，罗伯托·罗西里尼不但是画面的掌控者，还让《不安》的演员有了即兴表演时刻，而这些暧昧意象的不确定性与全片这一若隐若现的主题相互呼应。
不安剧情讲述了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.
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