MD傳媒在線觀看

大腦認知力背后的飲奶科學：最新權威研究揭示A2型蛋白牛奶助益中老年大腦年輕態

單縣第四屆三縣少兒圍棋升級定段賽開賽

2025“燃?朗文少年”青少年英語口語演講活動圓滿收官

美逮捕數百韓廠員工 韓敦促保障合法權益

《FF7重生》換裝MOD：《質量效應2》戰服又颯又美

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).

這五個助眠“好建議”純屬幫倒忙

胡塞武裝稱再次襲擊美軍和以色列目標

1900年，在美國舊金山唐人街，華裔印第安獵人阿鬼（王寶強 飾）與留美青年秦福（劉昊然 飾）因一場兇殺案偶然結識，誤打誤撞組成“唐人街神探”組合。開啟了一場笑鬧探案之旅……