HD中字剧情片
德拉克的๐๐回归
拉多万ยท卢卡夫斯基,古斯塔夫ยท瓦拉赫,艾米丽娅ยท瓦萨约娃,威廉ยท波洛尼,Jela,Buckova,Jozef,Cierny,Pavel,Chrobak,米库拉斯ยท洛迪津斯凯,Ivan,Macho,Jรกn,Mildner,Andrej,Mojzis,Jan,Pelech,卢多维特ยท赖特尔,斯特凡ยท克维季克,Milan,Mach
ๅงๆ ็ฎไป
与St๐ถ๐คค,efan Uher和El๐คฉ๐คฎ๐= o`๐^/ H๐ค !๐ava๐.๐๐คฎtta一๐ถ๐样๏ผEd๐๐ฌua๐rd Grecner也是60年๐ด๐๐代斯洛伐克新浪潮电影的缔๐造者之一๐ท=!ใ他的三部影片ใ一周七๐ท天๐คจ#๐[/ใ๏ผ1964๏ผใ尼绒月亮$!๐ค@ใ๏ผ19๐ช/65๏ผ和这部ใ徳=%๐ด拉克的回归ใ都是斯洛伐克๐ด๐๐คข新浪潮电影的代表๐ด-作ใ这部叙事方=๐法๐ค๐独๐๐?๐特带有明显/๐ถ๐
意识流风格的黑白影片甚๐๐๐ค至^%间接影响到了后来法国导演格里耶在捷克拍摄的[两部影片ใ说๐คฃ๐ค๐ด谎๐)๐ท的人ใ和ใEden and %๐ค๐ช๐Aft ?๐ฅฐ๐erใใใใA special place in the develo๐คฅpment of feat๐๐๐u๐คญ๐คฅ๐คฃ๐re films is๐๐ reser๐ถ/ved f\๐๐ช๐คฃor Edu!;-๐ard Grecner, ๐the cre๐คฅ๐ค๐ator ๐ช๐คซof just o๐๐ด+๐ne;๐คญ๐ฌ๐ค good fil๐คฅ๐ถ*๐m,.๐ Dragon๐๐ Re\turns๐ค๐คจ๐ (Drak sa vracia,%๐ค 196๐7),^๐ค t,๐itled๐คฉ\๐$๐คฅ aft๐ค๐er th๐๐ค๐@๐e nickn๐
` am!e of๐\ the l๐ ๐คe๐คad ch๐คญ,๐คฉa,๐๐๐๐
racter.๐คค;๐ After๐ท๐คจ๐/ h๐๐is ๐คข(.๐init๐คฉ๐ค_๐คฃial work with ๐คช!$๐คจUher,๐ Grecner m๐๐คฅ๐ade ๐๐hi$]s๐๐ mark as a๐ proponent of t๐ช๐๐he so-๐๐๐ทcal[\;$;led[๐คจ๐๐ %๐+intelle๐ค๐๐ช๐คจ๐คคctual ๐ทfi(๐ถ๐ฅฐ๐ฅฐlm, the antit/#hesis o๐๐ค[f t๐คช๐ฅฐ%he soci,#๐๐๐o๐logi,๐คจcally, o๐๐ค`r rath๐ค๐ ๐ค๐คฃe@๐คฎr๐ค๐๐๐คฉ, ๐๐๐)soci ally ๐ ๐คฃc๐ritic๐al film. G๐คญ%re.@_๐ฅฐ๐cner's great?๐ role๐[ model was ๐๐คฉ๐คAlan Resnais, a *`๐๐๐ฌyoung ๐๐๐Frenc:(@h -๐ช filmm+ak๐er ๐๐๐who๐ถ๐๐ s๐คฎ+o๐๐ค๐@ught to introd๐๐ค๐uce Slovakia to the๐๐๐+ idea of fi๐ค๐lm as a l๐ชaby๐๐ )๐rinth in which mean๐คฉ;ings are๐๐ค created not by(๐! s_๐to๐
#r๐๐คญ๐i[๐๐es, bu๐ค๐t by^๐ co๐๐
๐๐คฅm ๐ ๐คซplex๐ config๐๐๐คฉurations๐_ ๐ of๐คข ๐ค dialog๐^๐ชue๐ฌ๐๐คฃ๐คฎ, shot๐%/s,๐๐ ๐คคand variou,๐ค/s layers of time,๐๐/๐ฅฐ๐ thus๐คฎ๐ differen๐=๐ถ๐๐คtiatin๐๐`g๐ท๐คญ film from bo๐๐th lite๐ท๐ค!ratu๐,re and theater. +๐
๐คคIn๐:๐ Dragon Returnsโthe ๐๐๐ถstory o๐ ๐f a s,๐olit๐+=๐ary her๐๐คฉo wh๐๐๐o is needed ๐$% b๐[y village๐ค_๐rs livi:๐คค^:ng far in the mou**ntains,๐ฌ= but who is reje๐ช๐๐๐?cted by the๐ )๐คจ_m\๐คฃ๐ค at the same time because๐๐ฅฐ/๐ of h )๐
๐is d๐๐ด,e-๐๐คญtachme+^ntโGrecner brought the๐๐คฅ[๐ค๐ t๐ฅฐra๐๐^๐d]๐itio๐_๐n of lyri๐ด๐ค ๐ci#zed pr๐%๐ค[ose to li]๐:fe t^๐hrough a wh- ole series/`?!๐ค of๐๐๐ formal ae๐sthetic techni(๐ques. Alain Robbe-Grillet immediately๐ค๐๐ช๐ค develop#๐คญ๐ดed this idea in the๐๐๐# film sho`๐คซ๐ชt in๐คฉ๐๐ ๐๐คBrati๐ฌ๐^๐slava The ๐คฉ.Man W-๐ถ๐h]o Lies (S-๐ฅฐ*lov๐ถ๐ฅฐak ^(๐คฉMuz, ktory luz-๐คe) @ ; French titl_๐_๐e L'homme qui ment; 19๐ ๐๐68), and๐ p๐คซerfected it in Ed๐๐en and Af๐๐ค๐_]te]๐คจ๐คฅr (Ed@๐คขen a potom,$๐. 1970).