導(dǎo)演：愛(ài)德華·格萊納

主演：拉多萬(wàn)·盧卡夫斯基,古斯塔夫·瓦拉赫,艾米麗婭·瓦薩約娃,威廉·波洛尼,Jela,Buc

版本：1080P高清無(wú)刪減完整版

更新時(shí)間：2025-09-01

與Stefan Uher和Elo Havatta一樣，Eduard Grecner也是60年代斯洛伐克新海潮電影的創(chuàng)作發(fā)現(xiàn)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》都是斯洛伐克新海潮電影的代表作。這部敘事編制奇異帶有較著意識(shí)流氣勢(shì)的吵嘴影片乃至間接影響到了后來(lái)法國(guó)導(dǎo)演格里耶在捷克拍攝的兩部影片《扯謊的人》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).

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