德拉克🤫😃的回归

剧情简介

与Stefan Uher和Elo Havat#[ta一样，Eduard😶🤑[😔 🤥$Grec😬ner😒+-🤥也是6`😬😒😪0年代斯洛伐克新浪潮电影的缔造者之一。他😛的😀😘三部影片《一周七天》（1😔:964）《尼绒月亮😍,😆😬》（1965）和这部《徳拉😉/😀;克🥰😔的]🤗🤕🤤回归》都是斯洛伐克新浪潮😑😘?电影的代表🙄]😆(`作。🤫😙*🤩这部叙事🤒?方法*😉独特带有明显意识流风格的黑 😊🤑白🤭🤩😇😊影😬😉片甚至间接影响到😶+了后来🤥😝#法国导演格里耶在捷克拍摄的两部影片《说谎的😄🤨人》和《Eden🙂🙃😴🤥😙 a+^😑nd 😃After》。　　A special place in$ t🙂he d🙄😶[evel😗😐]😁op😇=men🙄😪t of featu😙🤢re 😌 🤨😌🙃-films🙂🤑🤢 is reserved for Ed
🤨🥰uard Gre)cner, the creator 🤭😐#of j😚🤔(
ust one goo`😌😬😷d film, Drago😗[n Returns (Drak sa vracia, *1😐😋]/96😂😙7), titled😅😐😛😙 😂,after the nickname o`🤭😔f the lead 😶_😊😀chara🤔😏cte@?r. Aft😏😉-,e🤑😋r 🤩his in)😆🤮😆🤐iti😁+al🤮🤤 wo!😑rk w[ith U🙃her, G🤐.(recner 🤥*`😶made his mark:\🥰😄 😬😅😛
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+🤔hes🤗is of the 😶🤫sociologically,
or🤮😃 rather, sociall`_*y critic🤔^%,al 😬🤮fil😬😘[m.😋 Grecner😊:!🤗's great role 😅
]model was Alan Resnais,😐% a young French fi🤐🤐l#😀.mm😁😀🙃ake😏?🤫r w😝:ho sought to introd;uce Slovakia 😀$]😜to🤕 the idea of fi🤢🤔lm as a 😆😇🤑 😐labyrinth in😆) w🤒😍hich meaning+s a😁😀r🥰/^😜e!🤤 c😁?`😆reate😷;d not by stories, but😶+ by compl😃🤨-😐😘e😴[😋🤐x🥰😌 configu-😃:rati😷-ons o🤤f dia🤫🤔😔logue, - shots, a🥰-😊😛nd various layers of time, 😒 thus differ,😋😐e/*nt@🤩iati😶🥰😀ng film🙂`🤤 %from both😋 _😑)literatu🙃!)re and thea`ter. In D
🤕🤩;rago+🤒n 😁😴🤐😒-Returns―the sto😌🤪😷ry of 😒😗/a s[]o😜 )😚lit😘ary hero wh🤗😅 o 😪
🙂😃is n😔🤫eeded by=🤥🤭 vi _llagers livin😒😃g far in /,the mountai😇ns🤗, b😶ut who i!😙s)😏 r😃ej😅🤤😚ected🤣🙃🤥 by them 😒🤐at the;]( sa😑🤤me time 🙃#-!?be c😅(🥰😛ause of😷😏😒 hi🤐😬@^s det😐`🤗a😶😌chmen`😂t―]🤑Gre 🤣🤪;cner broug+😑(ht the tradition ,)of ly😌]?😗ri🤣cize)😒d pr🤫]😃[o🤪🤤se to life 🤒🤒throug😂🙂$`h😆+😛 !😃a who😂=🤫le seri🤭%es of `for😍!m😝😷🤥al a🤐*e😛!sth🤔😃e🤐tic techn🙄iq😆😅🤥u:😛es. Alain Robbe-Grillet🙄😃 immediately de;😷😘😑velope🤗😇d thi😜/s idea i😷🤮n th🤥e_$🤑 fi=`🤩🤨lm shot # 🤤in Br😔😂atisla 😁🥰va The Man 😛😴 Who Li😆es (S😷lovak Muz, ktor🤫_!y l😁😑😗uze; French title 🤢🤫 😉L😐#'h#🤣*🤑😗omm😘😔e qui ment;😁( 1968),😉😍😇 and 😘😘perfected 🥰🤭😉i🙃😉-(😀t in Eden and After (E😍😚d🙃🙄en a po_😊😇:tom, 19)70:).