德拉克的😁 回归

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德拉克的😁 回归

拉多万·卢卡夫斯基,古斯塔夫·瓦拉赫,艾米丽娅·瓦萨约娃,威廉·波洛尼,Jela,Buckova,Jozef,Cierny,Pavel,Chrobak,米库拉斯·洛迪津斯凯,Ivan,Macho,Ján,Mildner,Andrej,Mojzis,Jan,Pelech,卢多维特·赖特尔,斯特凡·克维季克,Milan,Mach

年份: 1968
地区: 其它
语言: 其它
导演: 爱德华·格莱纳

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与Stefan U😝🤕h😐🤩\er和Elo Havatta😪`一样，🤔Eduard G🥰😝;recner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》（19+65）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 i:😆n🤭$\] 🤑the@😛 dev🤤😍elo🤪🤕pm_ent of fe🤮😷😚atur🤢😌😜e films is reserved for E#_.)duard 🤑G😊😒!re🤔,😆cn🤐🙄🥰er, the creat😍🤫😘/😉or of just😘🤑😏 one %^good 😜[film, Drag🤒🤐on 😔😗😅😔Returns\ (🤐 (🤤.Drak sa vracia, 1967[)?😁=,😷, titled 🙃🤒af😙ter the nic^🤣🤥kna😊. me of t🥰🤪he lea🤤[=🤮😘d🥰😂😇] characte(🤮;r. After his ini😜.tial wo😛🤫🤤rk with Uher, G😅🤕😛recner* made 😝🤢h🤪is mar😋[k as a😆 ^+propo😒😋😙nent of t🤪🤕he so-called😂😜😇 int/ 😒🤨ell.(😶ect😄ual f🤑!😔🤪ilm, t;🤢he😘🤑😍= antithesis 😪😇o]/😐😴f😙🤕 th=]😐e sociolo$🤥🤪🤭g😛🤔$ical😂🤗ly, or rather, 😀(+socially critical f😑😌🙄🥰😃ilm. Grecner's great role mode😅🤐🤪l was Ala`n Resna😑🤕is, a y😊😐oung😋 😴\F😉#^]re🙂:😉n😁ch film😇_make)😶😋r who sough🤢t😚🙂 to i\;\ntro😀😘duce Slova🤢😀k:🤢😏ia to😬😄$] the 😝🤮😬id😉🤒🙂ea .🤭.of film as a la*\)(byrinth i🙄😗🤐n -😶🤑which me😛$🤨a🤐;🤩🤥nings are creat+🤒😏ed not by stori🤗es, but by complex 😙😷confi😒g😐*(urations 😝🤢\o😗,:😔f dialogue,$😀😐 s 🤪hots🤫^,, and)? var😗😒i🤮^🤣😪ous laye😛😛r$!s 🤩😘of time, t🤭😚[h😏,🤨😚us 🙄differenti%😚🤒ati;😀(ng film 🤢f😌😀rom both literature and theate😀😏😊 ,r. In Drag🙃😷on Return=😑s―the 🤤😄s$to😷 ry😝 of a solitary 🤒🤐her\^o*😪😶 who i😌/🤤s🤥😆😬 n🤫=ee 🙃=ded🥰 😪🤩😋by+🤫 vil😃😆lagers liv😒`in😶😗_g far🤥%😍 🤫 i-🙃😘n the mountains, but who is% rejected b🤩😪y 🤗😁them at 🙃😝😂😔the s@🤐]ame time😔😂🤗 becaus🤩😷😝e of hi_😗s deta)[🥰 ,chm😷😁ent―^🙃😉🙄G😍😊🤔?🤗recner brou/)😑$ght the tradition of lyr🤨🤪😂icized pr🤢o[😅%🤔se to life 😇_(t@hrough 😬🤐a wh🥰😶ol 😷^e se=🤑*rie🙃😅s of forma😀🤔l a😔:😂🥰e 🤨😄🙄s🤕*thetic techniqu,🤕😗es. Alain Robb🤩😑e-Gril🙂😊l`!😑et 🙄😃🤒😌im=^mediately dev🤩(😙e- ,l🤢🤭/ ope+😆d this🙄🤤#🤣😚 idea $😘=i😬🤐n 😑`🙃/😜the film shot in B😀(r😉atis😜:$!😃l😴🙂🤫ava🤐,\😊 The Man Who Lies (Slov😘😘ak Muz, ktory luze; French title L'ho😚🤕m😋😐me ^$:qui ment; 1968), 😃and perfected it in Eden and A$🤣fter😶 (Ed😗en🤒🙃 a🤫^ potom][, 1970).