德拉🤫_🤕克的回归

与Stefan Uher*🤒😇(和E😆=😷 lo Havatta一样，Eduard Grec🤣^ner也是🤑😍\🤤🤫6!0年代斯洛-🤑😍伐克新😍 🤕#浪潮电影的缔造者之一。他的三部😂😬😌😝🤤影片😜😍《一周😗😗七天》（1964）《🤗^😜]尼绒月亮》（1965）和这部《徳,🤑🙃😂拉克😋🤣🤪的回归🤨😉🤕@》都是斯🤨😙😌😝洛伐克新🤤😑😔-浪潮()🙂电影的代表作。这🤭部叙事方法独特带😅
😄有明显意识流风格的黑白影片甚至间接影响😀😅😔到了😇🤭🙃后来法国导🤮😆*🤫演格里耶在捷克拍摄😋🤐🤔的两部 影片《说谎😀的/_人》和《Ed🤗😒😁🙂😍e😑😀🤤🤒n and After》。　　A spe 😋:@ci//🤑😅a😐,😂🤣l place i]😒😋n the development #of fea😄😆ture 🤕-fi🤪😋/😑lms is res🤗=e🤮😊
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🙄]🤪🤒o😪😚🤑r Eduar;*😑d Grecner😇🙂😔, the 😇😪creator of just one good film😒😁,, Dragon Returns (Drak sa vrac🤩ia@$😷]😇, 19😗😪
+67)😀😴^, tit😴😐🤒led af🤤🤥 🤨ter the nickname o😔😀=🤑f😙\🤑 🤩🤫😬the lead😛/ ch🙄@ar🤮🤥a=😶😛c🤭ter. Afte😙😐r his i😔*😇nitial wo🙂😛#🤔rk with😆. Uhe😊😙r, Grecn😍🤨😪🤫er made hi🤔🤭s mark as a p🤫(ropon😝🤔%ent of the so-c😝alled i😍😁/nt
😘ellectual fi 😂lm,;🤥🤪@ th🤮]e😜:😅🤥 _+antithesis😒% of t;🤥 ]😔he soc😑😪iolo[😇gically, o🤥r rather, socially critical😀🤣🙃🤢 film😬.😛🤣 G?😶recner's g\reat ro😄(le m=🤪\odel 🙄/-\ w-🤥😁a😀🙄s Alan Re😙😂😅snais, 😛🤐:a yo🤔😅ung🙄 🤑F[rench filmm😷🙄aker who 🥰sought to introduce Slova_🤒kia to😄\ the id[😆😝 ea of f
(_😃ilm as a labyr😏🤒😐-+inth in whic?😇h _😶meaning🤩*s =/😜are created😪😆 not by stories, but %😌b$ 🙄y c🤑🤮@🤗@om😁😄plex conf😂😍#😒🤩igurations 🤭😅😔,of ]😍😴dialogue, shots, and😍😔 various l😇😂😔🤣ayers😛😃🤪😅. o[🤮😍f time, =*😄 t😪🤢
🤗h: 🤮😐us different(😀🤩iating😪😷;🤗 film fro😐😛;🤤m😇😜[😌 b🤤😶🤮🤔o$th🤩 literature]😒🙃🤑😉 and t🥰# heater. In D😀😊😴r😋😊:agon Returns🤫😴―the story of a 🤫solitary hero who is need😒#ed by villa😅g-%😌🤑ers li 🤗ving \ 😬far in th_🤕🤪🤫e 🤐🤮mountains, but w😊:ho is rejected_😄😚🤒 by t🙂🤐hem a 🤫t`🤗🙂 the same time b😴😃)🤮ecau-😋se#🙄 of 😂😐🤔[his detachment―;🙂
🥰Grecner b@😪😁r🤕😌^o🤨😐(ug😊😀`/h😄;🤪😔t t🤗🤣he tr@.🤨🤪adition 😁😬:$😃of🤑😚😝🥰 lyr😜😬🤢icized prose to
😜=😇 life through a 🤫whole seri😏🙃es%🥰 of form,]😔🤪al 😝😇aesthetic🤭/ techniques. Al?ain Robbe-😃😶😷🤮Gri_😐l:]🤒:let ?^😉immed😌[🤭iately😗😑@ developed this idea in🤤 🤮the f+ilm sho@😚t @😷in Bratis🤭😂lav😉😜😛a :🤢The Man Who Lie[)s😘+ (🙄`Sl😏^^ovak Muz, ktory lu😃#z😔e; 😘🤔🤭French tit😆🤑😊@😋le L😚🤨=🤗😷'homme qui 🤣🤒)ment😐`😂; 1🤮,968), and🤭🙄 perfected it 🤐?\)in 🤗Eden and 😒;🤭A😗🤢fter 😒(=🤥E=😀den a potom, 1970).