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關(guān)鍵詞：劇情片 
影片別名：delakedehuigui Dragon Returns
主演拉多萬·盧卡夫斯基（飾德拉克）：“我終于回來了，準(zhǔn)備好面對我的復(fù)仇了嗎？”古斯塔夫·瓦拉赫（飾約瑟夫）：“德拉克的出現(xiàn)讓整個城市沉浸在恐懼之中?！卑悑I·瓦薩約娃（飾伊莎貝拉）：“我們必須聯(lián)合起來，抵抗邪惡的勢力?！倍拱陜?nèi)容:　　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(dú)特帶有明顯意識流風(fēng)格的黑白影片甚至間接影響到了后來法國導(dǎo)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).
德拉克的回歸免費(fèi)在線播放地址：http://m.dfxzjy.com/vote/45283.html