走進微觀世界，解鎖刺梨的N種吃法！
神眸創始人楊作興博士攜新品亮相羅永浩直播間，再塑智能攝像機新標準
配料表基礎 工藝就不基礎 盒馬推出“干凈配方”果脯
學習新語｜重溫中俄并肩作戰歷史，習主席講述四個故事
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).
鼓嶺人記憶中的味道，你吃過嗎？
霸榜近3年！孫穎莎連續154周排名世界第一
1950年，新中國成立的第二個年頭。雖然華夏大地迎來了久違的和平，但是在湖廣一帶仍有為數不少的國民黨殘余勢力和土匪惡霸的部隊星散在大山深處。尤其在匪患最為嚴重的廣西，先后有數百名革命干部遭到殺害。為了清剿匪患，一度被判處死刑的前四野軍官洪風（丁海峰 飾）逃得一命，他被任命為飛狐小分隊的隊長，帶領石八槍（馬師紅 飾）、莫三甲（尚于博 飾）、伍味子（楊舒 飾）等性格各異、身懷絕技的高手挺進大瑤山。那里不僅有向山雷和女匪柳葉飛兩股強勁的土匪勢力，更有昔日戀人邱雨（溫崢嶸 飾）組建的毒刺小分隊。 斗智斗勇的軍匪戰爭就此展開……
“戎耀·傳承”河北省退役軍人賡續抗戰精神主題活動舉行
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