剧照
剧情介绍
德拉克的回归电影免费高清在线观看全集。
与Stefan Uher和Elo Havatta一样，Eduard 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》（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《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).陌陌影视陌陌影视樱花影院6080影院纹身2022欢乐颂第三季圈套(2000)不二土夫子钻石诱惑啼笑姻缘天下无贼美丽至极无名大师盛唐幻夜迟来的忏悔雨季2014裸奇点川流熙攘朽木第三季极品老妈第六季潇洒先生（国语版）坏人好梦反击罗曼史代课老师2006马戏团1928记忆暗线杏仁体与海马体海报师：阮大勇的插画艺术
与Stefan Uher和Elo Havatta一样，Eduard 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》（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《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).陌陌影视陌陌影视樱花影院6080影院纹身2022欢乐颂第三季圈套(2000)不二土夫子钻石诱惑啼笑姻缘天下无贼美丽至极无名大师盛唐幻夜迟来的忏悔雨季2014裸奇点川流熙攘朽木第三季极品老妈第六季潇洒先生（国语版）坏人好梦反击罗曼史代课老师2006马戏团1928记忆暗线杏仁体与海马体海报师：阮大勇的插画艺术
三星半；捷克新浪潮中的风格化影片，讲述了一个比较简单的返乡故事，主题也不过是展现好人在恶土中的处境。男主角造型很好，那张沟壑纵横的脸和带有疤痕的独眼就很有故事的样子，开头村民的集体惶恐也让人误以为这会是个爱德蒙堂泰斯一样的复仇天使，结果看下来，发现主角只是个圣人人设，这就差了点意思。本片的影像和声音处理高度风格化，不时穿插的回叙和做法事一样诡异的配乐，都让人想起捷克电影的扛鼎之作《乱世英豪》，看来捷克新浪潮电影的手法也是有其共性的
这是新浪潮，不是超现实。
音乐和画面棒透了！下载及中文字幕 http://www.douban.com/note/61873376/
故事明了
镜头精致，音乐恰如其分，可惜这种极善的表达在我看来都是伪命题。
LJBD
尊严的丧失。90%都是变焦镜头拍摄，给影片整体笼罩了一丝神秘色彩。只有变焦镜头才能帮助我们聚焦一个人的脸和灵魂。
有力的沉默
诡异的音乐和剪辑让故事多了一种“宿命”的味道。
不是归途，想起那句人世间所有的相遇都是久别重逢。
配乐很棒，女主很美。
捷克新浪潮永远都是这个节奏
这个故事不足以承载如此浓烈的画面和配乐。
音乐好怪异，很民间也很前卫。画面很精致。当代导演里，贝拉·塔尔讲故事的方式与之很相似
看过的第一部斯洛伐克电影。视听很先锋很骚情。女主很美腻，查了一下发现居然在2008年上海影展拿了影后。
7。精致的镜头
放火烧山，意味不明。没有感觉到声画的配合有多好，关掉声音反而让画面更突出更富情感。
用中国的文学言语来描述, 这就是封建反封建,愚昧反愚昧,落后反落后,爱情自由与反自由的影片没有字幕, 但最后还是看出英雄主义色彩的故事结局含蓄的表达,比直裸裸地剖白 要好得多
#捷克新浪潮# 简单的仇恨与释然的故事在爱德华震撼而扣人心弦的视听渲染之下，拥有了民族史诗般的悲怆苍凉感，颇具法兰提塞浓厚的宗教诗意风味。奇诡不论的山势云色在开篇由360度摇摄呈现在观众眼前，最后停在德拉克身上，暗示其出狱返乡后的内心环境。与这大远景相衬的，爱德华常置场景内的重要物品，或人物于摄影黄金焦点的位置，使前景与背景均失焦，选焦的模糊化的处理引导观众注意力集中于叙事点上，同时也隐晦表达了村庄诡异恶土的气氛，德拉克被排挤中伤，神精恍惚。声音对影片时间流的创造也产生了重要影响，爱德华巧用“火”之意象，使得影片时空游离于真实实际与主角的记忆或梦境中，构成回环往复的叙事结构，达到余音绕梁，情感上升到主体性地位，摆脱情节的桎梏束缚。
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