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星空影院劇情片《德拉克的回歸》是一部由愛德華·格萊納導(dǎo)演執(zhí)導(dǎo)，拉多萬·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,J等演員精彩演繹的其它電影，手機(jī)免費(fèi)觀看高清未刪減完整版電影大全就上星空影視，更多相關(guān)信息可移步至豆瓣電影、電視貓或劇情網(wǎng)等平臺了解。
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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)特帶有明顯意識流風(fēng)格的黑白影片甚至間接影響到了后來法國導(dǎo)演格里耶在捷克拍攝的兩部影片《說謊的人》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).
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