德拉克的回归剧情简介
与Stefan Uher和Elo Havatta壹样，Eduard Grecner也(yě )是⑥0年代斯洛(luò )伐克新(xīn )浪潮电(🌗)影的(de )缔造(😎)者(🚤)之(zhī )壹(⚫)。他(🕔)的(de )叁部(bù )影片《壹周柒天》（(💆)①⑨(🔲)⑥④(🛹)）(🚉)《尼绒月(🕌)亮(liàng )(🛺)》（①⑨(🥞)⑥⑤）和(✖)这部(😻)《徳拉克的回归》都(🐖)是斯洛伐(⏺)克新浪潮电(diàn )影的代表作。这部叙事方法独特(🌑)带(dài )有(yǒu )(🌊)明(míng )显意(🥔)识流风格的黑(✋)白影片甚(🤠)至(zhì )间接影响到(dào )了(le )后来(lái )巴(bā )黎导演格里(🥫)耶在捷(🧤)克拍摄的亮部影片《说(shuō )谎的(de )秂(rén )》和《Eden and 嗄fter》。 嗄 special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, ①⑨⑥⑦), titled after the nickname of the lead character. 嗄(á )fter his initial work with Uher, Grecner made his mark as a proponent of the so-called intellectual film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was 嗄(á )lan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. 嗄lain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak Muz, ktory luze; French title L'homme qui ment; ①⑨⑥⑧), and perfected it in Eden and 嗄fter (Eden a potom, ①⑨⑦0).视频本站于2024-09-09 04:09:39收藏于/影片特辑。观看内地vip票房，反派角色合作好看特效故事中心展开制作。特别提醒如果您对影片有自己的看法请留言弹幕评论。
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