德拉😔[🤗克的回归

与Stefan Uh😔-🤨😆
er🤥和Elo Hava🤫😪tt🤫a一样:+， ?/Eduar😴_😋d😜😋🤣 Grecner也是60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》（196😃^🤢
4）《尼绒月亮》（1;965=🤣）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《🤣🤨🤪Eden and After》。　😑/　🤒A special pla😂ce in the 😊.$ develo_]?😘#pm😚😪😆ent of feature !films is🤩.🤑?😗 r_🤨es🤐[(erv🤫😷😅ed for Eduard G🤤🙄 r😊^😁ecner, the c`😒🙂😂r😷\#eat$(!o😑😶=r🤫+🙃😜 of just one good fi+😆lm, )😶Dragon!🤑 😌_🥰Returns (Drak sa vracia, 😒😗)1967),-_ titled after =😇the nick😪😀%🤫name 😅of😑😃😃😌 the l🤔😆🤫e. 🤐ad cha;😝.*racter. After his +
🤮😍in🤗_itial w 😊ork 🤩*)with Uher,😴 _😃😛🥰😀Gre🤤cn
$🤕😇er made🤐
his 🤣🤗😛😊mark as a pro😏😔,🙂ponent o##_f the so-call🤒😶/#😊e] d intellectual 😂 🤢😑#film, the antith?😗😍e😐🤮🙄sis of the so😔#ciological(🤮ly, or rather, socially c🤥😔=rit🙃😄ical film.=😌😑😄 😝/🤩Grecner's great role model😜😑😴 was Alan R🤢🤭esnais, a y%\oung Frenc😅🤒🤨h fi!🤭😚🤪lmmaker who ?🤕🙄🙂sough😂=😉 t @🤨🤒to introdu_😗ce Slovakia to the 😚😷/idea!😅🤐🤭 of🤥🤫😌 film as 🤤]a l😘byrinth in wh😪/🤐ich  😑😀me]`*🤮aning)🤗[😒s %🤤😆are created n😒?ot@😑😅, ., 🤨by stories, 🤐;🤥🤑but b+!.y c ]😗)😷ompl🙂ex co^😇🤣nfigur😝🤑@ations 😅🤩+😝of dialogue:🥰😊🤫, shot😒🤨s, a😏😃nd various layers of tim🤣🤣😴🙃e, thus d: ifferenti😅;ating film from🤮😔😐 both literature 😆🤗🤥🤗a🙂+nd theater. In Dragon [🤢Returns*!😊🤨―th😔🤭e s🤗😜[tory of +😅a soli😬😐/*tar+😁y hero who is =/😁;nee,🙃😬🤭ded by villa/😊🤤🤗ge😁😆@rs living far;🤮 in the m🙂ou🤫😉🤭nta🤤😶i😗*n-😝🤤s, but🤒:🤥 😐🙃who is )🤨!re🤪😐😷jec😉😗ted by them at the s%😍🥰ame 😬,(time because of hi😔😋😐s detach🤑😍😇🤭🤑ment―G🤥 🤩r*😂e)🙄😙cner brou`🤢 😶🤕g😘h🙂🤣😀t ^=🤨the t`😄radition😊 of lyric😛🤗😷`ized prose 🤗to life🤐 through🤥? a whole😉😑
[ series 🤫😆🤭o😀😁@f formal aesthetic te😆😷[chnique🙃😔 🥰s. Al🙃\ain😜🤐 Robbe-Grillet imme#\ +diat😂😚ely developed😶-😂😗 t😅his idea🤑.[
in the 🤪 fi😚🤮lm 😄shot in Bra🙃!😑tislava🤗?🤭 Th[😙😍😅]e Ma^😜😘n Who /Lies (Sl🤒ovak 🤤, Muz😆]😗, ktory%🙂(, lu😌🤭ze; French title L'homme🤭😋$😃 q*.ui m😅[😃🙂en^#😄+t; 1968)😜, and perfec😝t(😚ed it😆😁, in Eden 😃😏#.and Afte😒r (Ede😋🥰n a potom,/🥰😑 1970).