女生100%不遮乳

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).

15歲的以色列小男孩莫塞斯（Pierre Boulanger 飾）和父親（Pierre Boulanger 飾）住在巴黎藍色大道一幢貧窮臟亂的公寓中。母親（Isabelle Renauld 飾）離家出走，父親整天沉迷于書本，還編造出一個并不存在的優秀的哥哥打擊莫塞斯。本該享受童年快樂的小男孩壓抑陰郁，在附近的流鶯獻出了自己的第一次。 莫塞斯去附近的土耳其穆斯林亞伯拉罕先生（Omar Shariff 飾）的雜貨店里偷盜，被亞伯拉罕發現。和藹的老人原諒了眼前這個小男孩，并親切地向他傳授知識，一老一少從此展開一段彌足珍貴的忘年交……

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