德拉克^^\的回归

剧情简介

与St# efan Uhe
/r#-和Elo `,,;H avatta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 speci ,al place in the developm@ /ent of f<([e$=_at:  u_ \re)'. [fil%ms i/@
s.' re@served for $#Eduar>)> %d Grecner, the creator of just o-:ne goo[ '+d f-)i.lm, Dra]go\>[n Return:s]
. (Dr(("ak sa vracia, 1967), t%itled after the \-n#ickname o@ f& the lead charac,"ter. Afte'`r his initial "^'; work with Uher,#') Grecne`%r m/a:de his mark as a p[roponent/ of &the s)o-called intellectual fil-^@m, the antithe sis of th ;e =so
c%iologically, or /
=^rather, socially %cri_ ti<cal f']ilm. Grecner's grea t role ^ model was Ala.
n Resn-#+a is, a $ ;you^ng French :filmmake[r wh@o sought
.! to in$_=trodu*/ce Slovakia; to th'e idea of fi!l m as / a lab #,yrint:h i
]n :%which\?< me>).anings are cre([";;ated not *by stories,
$ but b_;)y complex conf>igurations '? of _di<alogue, sho.)t s, an_d various layers of time, thu._-s di$fferentiating film * from] both+ l*=%it)@
era (tu#%<-r+e an;#d the' ]ater.+/?
In D>rag:(;<on R eturns―the story of a so$#]lit"'ary< /:/ hero who i$ s needed by villagers liv?>in]%(g far in the mo+("`untains([ , but w
$ho is rej(ected b[.y them at t]he s-[@!am]!e .-time b#== @ecause of \+his detachme#<_nt―Grec`,ne %"r br ough t t+@he tradit)!%ion `of ly/<_rici@ zed p:##>ro,)se.\=] -$`to] life\>[< t,hrough a whole s !er/;?ies o f forma`l aesthetic>/; tec'*h+niques. Alai n Robbe-Grillet im`me,di('#a,?*tel& y de&veloped] this idea in <;the  film shot in ,Bratisl=ava 'The M an[ Who Lies ('Slovak Muz, ktory !luze; #_
;Fre.. n-:_ch tit -le&_\ L'homme qui men<t; 1968), and p&erfected@> it in Ed"
+^en &.and After (Ede
[\%%n a!# potom, 1,'.970&
).