德拉克的回歸

與Stefan Uher和Elo Havatta一樣，Eduard Grecner也是60年代斯洛伐克新浪潮電影的締造者之一。他的三部影片《一周七天》（1964）《尼絨月亮》（1965）和這部《徳拉克的回歸》都是斯洛伐克新浪潮電影的代表作。這部敘事方法獨特帶有明顯意識流風格的黑白影片甚至間接影響到了後來法國導演格裏耶在捷克拍攝的兩部影片《說謊的人》和《Eden and After》。A speci…與Stefan Uher和Elo Havatta一樣，Eduard Grecner也是60年代斯洛伐克新浪潮電影的締造者之一。他的三部影片《一周七天》（1964）《尼絨月亮》（1965）和這部《徳拉克的回歸》都是斯洛伐克新浪潮電影的代表作。這部敘事方法獨特帶有明顯意識流風格的黑白影片甚至間接影響到了後來法國導演格裏耶在捷克拍攝的兩部影片《說謊的人》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).詳情

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• 惡魔來到堪薩斯城

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• 冷漠怪

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• 逃逸追蹤

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• 海鷗來過的房間

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  露皮塔•尼永奧,傑曼•翰蘇,約瑟夫•奎恩,亞曆克斯•沃爾夫,丹尼斯•歐哈拉,凱恩•艾登,Jennifer•Woodward,Jonathan•Sparrow,以利亞•昂格瓦裏,Alexander•John,Zay•Domo•Artist,Mark•Khan

• 暴力本性

  瑞恩•巴雷特,,安德烈埃•帕夫洛維奇,卡梅隆•勒沃,裏斯•普雷斯利,利亞姆•利昂納,夏洛特•克裏根,莉亞•羅斯•塞巴斯蒂安尼斯,薩姆•魯爾斯頓,亞曆山大•奧利弗,蒂莫西•保羅•麥卡錫,勞倫-瑪麗•泰勒

• 非常家務事

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