德拉克😑
]+的回归

剧情简介

与St🤗😜#😏e😆fan U🤑🤭🤮her和El?o 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》（?:196😜😊5）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 a🤢%😚/?nd After》。　　A special place i🤪😁😶n😘:😁 the, dev)🤢elopmen😑🙄@t of fe,ature #🤢🤨films i]😝😏s res😇😂😅🙂erved for 🤔😬Eduard😜😌😬) Gre=🥰🤕cner/, th🤐😂e cre#😶ator of just on😀e😘🤪 good film, )%🤔Dra/,😌g😬😍😍🤨on🤫😁😄 Re😗😒turns (Dra😋`k😏🤑 s😋]a v😁🤭r🤢;🤑😏ac%i@(a, 1😊967), title?😂d aft😘er the @/ nickname 🥰🤗🤩o😆😷f 😁😒the lead char🤕🤔😌%a😉/😗🤩cter. Aft😂)er 😇🤐his_( ini@.😜`😐tia🤣😇
l wo😅#/rk w😃🤐)/ith Uher, Grecner made hi😄😏s mark😉😊🤑 as 🤤😂a p😀-😄😏roponent*😷🤨 of the so-called i😐🤑!ntelle$🤨🤭🙂ctual🤭🥰 film,
🤒😶😀the anti🤗 thesi[😅)🤤s of th,:e soci\😉🤑ologically, or rather🤨(😪+, s+ocial🤥`🙄ly critical film. 😌Gr😶🤗😛ecner's great 🤒🤑ro😪😂le model was A-,la😉n Res🤐🤩_😝nai🤢s, a young F😊😙🤑rench fi🤭lmmaker🤑😙😇😬 w😀/@😝ho so`😂.u🤭🤨🤫gh😷🤢t 😇😪to intro🤮😚+duce Sl😔🤩ovakia to the ide😙a (😛😙🤤-of😍😏😄 fi😛🙂😃#lm as🥰😍[ a labyrin,😉th i[]n$%@_ w%🙃hich meaning🙄😑s are cre😏+🤮ated not by st,^@$😌ories,😬🤥 but by complex co😍😂nfigura😪😂tions 😌[/^of*😙@😒 dialo🤫😙%gue, shots, and var🤥/😆$🤕i😍+ou😴😒s layers of ti🤥^🤢me😋😊, thus dif😆😷😀fer😘🤔\entia@\🤔)ting film %from both litera😍🥰😜🤣ture and 😃🤒theate🤮🤭r. I`😉😙n🥰😘😍 D😅+ragon Returns―the sto🥰+😗ry o😝_+f a ]so😀^🤥🤪😚litary😋; h🤭😙ero 😒who🤔🤮🤢😗 is neede😂d by vi[,llager😗🤒s😉🙃😆 living far in t😛😌🤭🤢!he. mount😏🙄🤨ains, but who is rejected by th😇🤗😑em😉😗  at the sa🤤/*me t]🤫/😆ime [😪be^🤥cause of his det🤗;ac#:🤢hme)🙃😍nt―Grecn/er br😌🤒ou*😬😍😄ght th🙂😉😬e tradit😊🤐😉🥰i🙄😛on of 😀 [🥰lyrici😆zed pro%[)😙se to🤑_😙 l=🤣ife throu 😆🤕$gh a whole s
😜🤭🤒e🤥😔ries of f/😊^
ormal 😅🤣aes.😗😛thetic tec🤐🤣🤢`]hn .😐😘😚iques. Alain Robbe-Gr😶😜😍ill:😔😶🤪et immed🤩ia[😒te😙🤗ly develope: 😂d this 🤐?idea in the f*🤨🤢ilm shot in Bratislava😀😉😜 The 😶*😶 Man😍🤨// Who Lies (Slovak Muz, ktory luze; F😝r🤕🤢ench title L'homme 😘qui 🤨😊🤤🙄ment; 1968), and😒🤤😚 perf😘?ected it in Eden and A😴🤑😀\fter (Eden a 😐😄@😁po🤐🤪t🤥🙂o😝😶 😆m, 1970).