在線觀看
劇情簡(jiǎn)介
德拉克的回歸在線播放
副標(biāo)題: Dragon Returns
這部類型分別為：劇情片(juqingpian)
如果你也喜歡電影,并且愛(ài)看類型是德拉克的回歸,新浪潮,拉克,斯洛伐克,這部,電影,回歸的作品的話一定不要錯(cuò)過(guò)
導(dǎo)演: 愛(ài)德華·格萊納
編劇: Dobroslav Chrobak,愛(ài)德華·格萊納
今天給分享的影視作品主要是愛(ài)德華·格萊納導(dǎo)演,還有老戲骨拉多萬(wàn)·盧卡夫斯基,古斯塔夫·瓦拉赫,艾米麗婭·瓦薩約娃,威廉·波洛尼,Jela,Buckova,Jozef,Cierny,Pavel,Chrobak,米庫(kù)拉斯·洛迪津斯凱,Ivan,Macho,Ján,Mildner,Andrej,Mojzis,Jan,Pelech,盧多維特·賴特爾,斯特凡·克維季克,Milan,Mach由1968年上映。
目前暫定上映地區(qū)為其它,主要的受眾語(yǔ)言其它
主要講述了:
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(dú)特帶有明顯意識(shí)流風(fēng)格的黑白影片甚至間接影響到了后來(lái)法國(guó)導(dǎo)演格里耶在捷克拍攝的兩部影片《說(shuō)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).
好了,請(qǐng)開(kāi)始觀看把。http://m.cbw21.com/video/g6v9QWZD.html
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劇情片周榜單