俄稱打擊烏軍工設施 烏稱再遭大規模空襲
《陣地》熱播，清如（邢雨靜）演繹記者杜鵑的熱血抗戰歲月
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。這部敘事方法獨特帶有明顯意識流風格的黑白影片甚至間接影響到了后來法國導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).
天啟元年，機關盛行，新舊黨派，爭權謀亂。齊南府秀才沈問，擅木工機巧之術，某日在路上無意間卷入一起皇宮秘寶失竊案，由此結識了錦衣衛總旗沐思卿。沈問發現錦衣衛尋找的秘寶竟然是當年導致他滿門被滅的六合獸圖，
撞成這樣，修，還是不修？
海外網友熱議IG淘汰EDG：只有iG能讓3-0的比賽像過山車一樣
聚焦十五運｜來，看十五運田徑“流量王”!
海南文昌警方通報：男子編造毆打妻子視頻被行拘
臨沭縣青云鎮紀委：以“三化”建設筑牢紀檢監察鐵軍底色
本片根據市川拓司小說《相約在雨季》改編，講述男子(蘇志燮飾)的妻子秀雅(孫藝珍飾)去世前告訴他，自己將在下一個雨季回來。果不其然，雨季來臨之際，妻子如約而至。可奇怪的是，妻子似乎忘記了他和家庭。