菲公务船执意侵闯黄岩岛 中国海警：将依法采取一切必要措施
距离第十二届丝绸之路国际电影节开幕还有7天！
众诚科技入股元体智能机器人公司
龙角散教师节快闪活动落地上海，新场景激活线下消费“新流量”
农行邹城里彦支行：青春服务暖人心，上门解困显担当
贵阳：工行“移动柜台”开进企业 “驿站服务”温暖劳动者心田
签约投资金额超450亿元项目！2025•青岛创投风投大会举办
与Stefan Uher和Elo Havatta一样，Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》（1964）《尼绒月亮》（1965）和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显意识流风格的黑白影片甚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《说谎的人》和《Eden and After》。 A 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. After 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 Alan 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. Alain 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 After (Eden a potom, 1970).
视频 一口价23.68万！传祺M8大师太全能？一次露营就被种草了
电影《我的世界没有我》今日上映 高口碑当代温暖现实主义佳作暖愈心灵深处