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德拉克的๐Ÿ˜‡๐Ÿ˜—回归HD中字
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德拉克的๐Ÿ˜‡๐Ÿ˜—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

ๅนดไปฝ1968
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与St๐Ÿ˜ถ๐Ÿคค,efan Uher和El๐Ÿคฉ๐Ÿคฎ๐Ÿ˜œ= o`๐Ÿ˜‰^/ H๐Ÿค—!๐Ÿ˜‚ava๐Ÿ˜˜.๐Ÿ˜š๐Ÿคฎtta一๐Ÿ˜ถ๐Ÿ˜ƒ样๏ผŒEd๐Ÿ˜—๐Ÿ˜ฌua๐Ÿ˜‹rd Grecner也是60年๐Ÿ˜ด๐Ÿ˜‹๐Ÿ˜„代斯洛伐克新浪潮电影的缔๐Ÿ˜Š造者之一๐Ÿ˜ท=!ใ€‚他的三部影片ใ€Š一周七๐Ÿ˜ท天๐Ÿคจ#๐Ÿ˜[/ใ€‹๏ผˆ1964๏ผ‰ใ€Š尼绒月亮$!๐Ÿค@ใ€‹๏ผˆ19๐Ÿ˜ช/65๏ผ‰和这部ใ€Š徳=%๐Ÿ˜ด拉克的回归ใ€‹都是斯洛伐克๐Ÿ˜ด๐Ÿ˜๐Ÿคข新浪潮电影的代表๐Ÿ˜ด-作ใ€‚这部叙事方=๐Ÿ˜’法๐Ÿค‘๐Ÿ˜Š独๐Ÿ˜›๐Ÿ˜?๐Ÿ˜特带有明显/๐Ÿ˜ถ๐Ÿ˜…意识流风格的黑白影片甚๐Ÿ˜’๐Ÿ˜’๐Ÿค•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€Š说๐Ÿคฃ๐Ÿค‘๐Ÿ˜ด谎๐Ÿ˜‹)๐Ÿ˜ท的人ใ€‹和ใ€ŠEden and %๐Ÿค•๐Ÿ˜ช๐Ÿ˜’Aft?๐Ÿฅฐ๐Ÿ˜œerใ€‹ใ€‚ใ€€ใ€€A special place in the develo๐Ÿคฅpment of feat๐Ÿ˜†๐Ÿ˜’๐Ÿ˜‘u๐Ÿคญ๐Ÿคฅ๐Ÿคฃ๐Ÿ˜„re films is๐Ÿ˜‹๐Ÿ˜š reser๐Ÿ˜ถ/ved f\๐Ÿ˜‹๐Ÿ˜ช๐Ÿคฃor Edu!;-๐Ÿ˜‡ard Grecner, ๐Ÿ™‚the cre๐Ÿคฅ๐Ÿค’๐Ÿ˜‰ator ๐Ÿ˜ช๐Ÿคซof just o๐Ÿ˜ƒ๐Ÿ˜ด+๐Ÿ˜†ne;๐Ÿคญ๐Ÿ˜ฌ๐Ÿค good fil๐Ÿคฅ๐Ÿ˜ถ*๐Ÿ˜m,.๐Ÿ˜ Dragon๐Ÿ˜”๐Ÿ˜Š Re\turns๐Ÿค•๐Ÿคจ๐Ÿ˜š (Drak sa vracia,%๐Ÿค 196๐Ÿ˜„7),^๐Ÿค• t,๐Ÿ˜itled๐Ÿคฉ\๐Ÿ˜Š$๐Ÿคฅ aft๐Ÿค”๐Ÿ˜‚er th๐Ÿ˜—๐Ÿค—๐Ÿ˜@๐Ÿ˜e nickn๐Ÿ˜…` am!e of๐Ÿ˜›\ the l๐Ÿ˜” ๐Ÿค’e๐Ÿค’ad ch๐Ÿคญ,๐Ÿคฉa,๐Ÿ˜Š๐Ÿ˜†๐Ÿ˜œ๐Ÿ˜…racter.๐Ÿคค;๐Ÿ˜˜ After๐Ÿ˜ท๐Ÿคจ๐Ÿ˜œ/ h๐Ÿ˜”๐Ÿ˜Šis ๐Ÿคข(.๐Ÿ˜†init๐Ÿคฉ๐Ÿค_๐Ÿคฃial work with ๐Ÿคช!$๐ŸคจUher,๐Ÿ˜Š Grecner m๐Ÿ™‚๐Ÿคฅ๐Ÿ˜™ade ๐Ÿ˜œ๐Ÿ˜‘hi$]s๐Ÿ˜™๐Ÿ˜š mark as a๐Ÿ˜œ proponent of t๐Ÿ˜ช๐Ÿ˜๐Ÿ˜ƒhe so-๐Ÿ˜๐Ÿ˜š๐Ÿ˜ทcal[\;$;led[๐Ÿคจ๐Ÿ˜›๐Ÿ˜€ %๐Ÿ˜‹+intelle๐Ÿค’๐Ÿ˜‹๐Ÿ˜ช๐Ÿคจ๐Ÿคคctual ๐Ÿ˜ทfi(๐Ÿ˜ถ๐Ÿฅฐ๐Ÿฅฐlm, the antit/#hesis o๐Ÿ˜’๐Ÿค—[f t๐Ÿคช๐Ÿฅฐ%he soci,#๐Ÿ˜’๐Ÿ˜€๐Ÿ˜˜o๐Ÿ˜’logi,๐Ÿคจcally, o๐Ÿ˜‚๐Ÿค’`r rath๐Ÿค—๐Ÿ˜๐Ÿค‘๐Ÿคฃe@๐Ÿคฎr๐Ÿค‘๐Ÿ™ƒ๐Ÿ˜‘๐Ÿคฉ, ๐Ÿ˜๐Ÿ˜๐Ÿ˜š)soci ally ๐Ÿ˜ƒ ๐Ÿคฃc๐Ÿ˜‡ritic๐Ÿ˜šal film. G๐Ÿคญ%re.@_๐Ÿฅฐ๐Ÿ˜cner's great?๐Ÿ˜œ role๐Ÿ˜Œ[ model was ๐Ÿ˜˜๐Ÿคฉ๐Ÿค•Alan Resnais, a *`๐Ÿ˜‰๐Ÿ˜”๐Ÿ˜ฌyoung ๐Ÿ˜Œ๐Ÿ˜Œ๐Ÿ˜œFrenc:(@h-๐Ÿ˜ช filmm+ak๐Ÿ˜›er ๐Ÿ˜๐Ÿ˜‹๐Ÿ˜who๐Ÿ˜ถ๐Ÿ˜‹๐Ÿ˜ s๐Ÿคฎ+o๐Ÿ™‚๐Ÿค”๐Ÿ˜@ught to introd๐Ÿ˜™๐Ÿค•๐Ÿ˜uce Slovakia to the๐Ÿ˜๐Ÿ˜๐Ÿ˜+ idea of fi๐Ÿค‘๐Ÿ˜œlm as a l๐Ÿ˜ชaby๐Ÿ˜‹๐Ÿ™ƒ )๐Ÿ™‚rinth in which mean๐Ÿคฉ;ings are๐Ÿ™‚๐Ÿค” created not by(๐Ÿ˜™! s_๐Ÿ˜€to๐Ÿ˜…#r๐Ÿ˜‡๐Ÿคญ๐Ÿ˜‚i[๐Ÿ˜˜๐Ÿ™„es, bu๐Ÿค”๐Ÿ˜—t by^๐Ÿ˜™ co๐Ÿ˜’๐Ÿ˜…๐Ÿ˜’๐Ÿคฅm ๐Ÿ˜’ ๐Ÿคซplex๐Ÿ˜’ config๐Ÿ˜œ๐Ÿ™ƒ๐Ÿคฉurations๐Ÿ˜_ ๐Ÿ˜œ of๐Ÿคข ๐Ÿค— dialog๐Ÿ˜œ^๐Ÿ˜ชue๐Ÿ˜ฌ๐Ÿ˜œ๐Ÿคฃ๐Ÿคฎ, shot๐Ÿ˜Œ%/s,๐Ÿ˜‚๐Ÿ˜ƒ ๐Ÿคคand variou,๐Ÿค/s layers of time,๐Ÿ˜‡๐Ÿ˜›/๐Ÿฅฐ๐Ÿ˜‰ thus๐Ÿคฎ๐Ÿ˜š differen๐Ÿ˜ƒ=๐Ÿ˜ถ๐Ÿ˜๐Ÿค‘tiatin๐Ÿ˜„๐Ÿ˜`g๐Ÿ˜ท๐Ÿคญ film from bo๐Ÿ˜ƒ๐Ÿ˜—th lite๐Ÿ˜ท๐Ÿค‘!ratu๐Ÿ™‚,re and theater. +๐Ÿ˜…๐ŸคคIn๐Ÿ˜‹:๐Ÿ™„ Dragon Returnsโ€•the ๐Ÿ˜‡๐Ÿ˜œ๐Ÿ˜ถstory o๐Ÿ˜‘๐Ÿ˜ƒf a s,๐Ÿ˜olit๐Ÿ˜ƒ+=๐Ÿ˜›ary her๐Ÿ˜๐Ÿคฉo wh๐Ÿ˜”๐Ÿ˜๐Ÿ˜šo is needed ๐Ÿ˜Š$% b๐Ÿ˜€[y village๐Ÿค‘_๐Ÿ˜„rs livi:๐Ÿคค^:ng far in the mou**ntains,๐Ÿ˜ฌ= but who is reje๐Ÿ˜ช๐Ÿ˜’๐Ÿ™ƒ๐Ÿ˜’?cted by the๐Ÿ˜ )๐Ÿคจ_m\๐Ÿคฃ๐Ÿค— at the same time because๐Ÿ˜๐Ÿฅฐ/๐Ÿ˜‡ of h )๐Ÿ˜…๐Ÿ˜ƒis d๐Ÿ™„๐Ÿ˜ด,e-๐Ÿ˜Š๐Ÿคญtachme+^ntโ€•Grecner brought the๐Ÿ˜ƒ๐Ÿคฅ[๐Ÿค•๐Ÿ˜— t๐Ÿฅฐra๐Ÿ˜‘๐Ÿ˜^๐Ÿ˜šd]๐Ÿ˜€itio๐Ÿ˜‚_๐Ÿ™‚n of lyri๐Ÿ˜ด๐Ÿค‘๐Ÿ˜˜ci#zed pr๐Ÿ˜%๐Ÿค•[ose to li]๐Ÿ˜:fe t^๐Ÿ˜”hrough a wh-ole series/`?!๐Ÿค of๐Ÿ˜™๐Ÿ˜œ๐Ÿ˜ formal ae๐Ÿ™„sthetic techni(๐Ÿ˜ques. Alain Robbe-Grillet immediately๐Ÿค’๐Ÿ˜š๐Ÿ˜ช๐Ÿค• develop#๐Ÿคญ๐Ÿ˜ดed this idea in the๐Ÿ˜๐Ÿ˜๐Ÿ˜‹# film sho`๐Ÿคซ๐Ÿ˜ชt in๐Ÿคฉ๐Ÿ˜Š๐Ÿ˜‰ ๐Ÿ˜š๐Ÿค•Brati๐Ÿ˜ฌ๐Ÿ™„^๐Ÿ™‚slava The ๐Ÿคฉ.Man W-๐Ÿ˜ถ๐Ÿ˜’h]o Lies (S-๐Ÿฅฐ*lov๐Ÿ˜ถ๐Ÿฅฐak ^(๐ŸคฉMuz, ktory luz-๐Ÿค’e) @ ; French titl_๐Ÿ˜ƒ_๐Ÿ™‚e L'homme qui ment; 19๐Ÿ˜— ๐Ÿ˜—๐Ÿ˜68), and๐Ÿ˜˜ p๐Ÿคซerfected it in Ed๐Ÿ˜๐Ÿ™‚en and Af๐Ÿ˜—๐Ÿค๐Ÿ˜˜_]te]๐Ÿคจ๐Ÿคฅr (Ed@๐Ÿคขen a potom,$๐Ÿ˜. 1970).
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