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).
2026-01-26 10:00 访客_390*** (37.92.141.254)
看完后劲儿有点大,这应该是本年度我刷到过最优质的原创内容了。
2026-01-26 08:54 访客_243*** (228.237.196.18)
这种制作水平在同类型里绝对是天花板,看完直呼好家伙。
2026-01-26 06:48 访客_393*** (168.24.8.48)
作为一个老粉丝必须说两句,从第一分钟开始就被深深吸引了,氛围感无,拉多万·卢卡夫斯基在这里面的每一帧都可以截图当壁纸。
2026-01-26 05:56 访客_885*** (61.106.104.113)
实名表扬拉多万·卢卡夫斯基,进步太大了,眼神全是戏,听我说谢谢你作者,主题立意很高,不仅是视觉上的震。
2026-01-26 06:34 访客_840*** (155.4.222.80)
剧情走向完全出乎意料,很有新意,看完直呼好家伙。