德拉克😉😇😝🤒的回归

与Stefan Uher😁😷🤑%和Elo Havat*🤫t😁😛🙄a一样，Ed/🤥_uard G😇😛🤨recner也是60😗年代斯洛伐克新浪潮电 $影😑😘的缔造者之一[🤭\。-🤐🤤他的三部影片《一周七天😙\🤮》（196%4）《尼绒月亮》（1965）和这🤩,部《徳拉克的回归》都是斯洛伐克$[😂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🤑\ sp;😔e🤮 😐😃cial place i🥰😔😋😴🤔n 🤨🤢😙the development of feature *😷films😛😘 is reserve🤢😴😀^d f😚😗or🤕🤪 Eduard Grecner, the😬🤪= cre🤐😙ator of 😉😴🤤😶🤢just 😍🤨.🤔one g😅#oo😒😘(d😄😌🤑🤣 film, D 😜ra-🤮😜gon R!🤮😑🤣et😷urns 😅(😋😆D 🤪^😏rak sa vraci🤑😏🤤+a😇🤑$, 1`!]967), titled afte😚😅😬r 🤥🤑t%😁🥰he nickname o😔f the le🤢🤮🤢😉ad🤔🤢 character. After h\is i😑😄😛😏🤤n🤭.😬it@.*ia🤭😁@l work with 😪🤕🤮[Uher, 😬😔()Grecn=er ma😘_ 😏😉de hi😇_s m😪😒+😌:ark as @😇🤕a proponen😐😪😑t😋(😴🤤😘 of the😝😋, so-ca@😗lled i😒ntel
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+)😃soc😒_i😋😌😛🤗😌ally critical😷🤣- film.!😔 Grec🤤🤒😒n😉😁🤕😛er😁+😴's gr^eat rol.e model was Alan Resnais, a young!(😴 /French filmmake^$]r who @😃😌s😷ought to int🤗🤑😚-😜ro🙃%duce Slovakia to the idea 🤮🤣🤨😐of film 🤒🤨:as (a labyrinth in🤒😆😐\ whic$🤨h @.meanings 😌😒,ar /]😃e cre🤗😗a@%🙃🤨ted n😬😚ot by sto🤨-ries, but  ;
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🤭=%rations 😊😌🥰!-of dialog😚😆🤥#ue,😀🤐 shots, a$🤢+nd [🤑vario🤥(us lay😗e#rs o_😛🤩f`🤨 time, thus d🤫`😘ifferentiating film🤣😘🙂 fr😒*o🤑@m both 😘l#/iter 😶atu🙃😇#😆r😛🤩😛e and =🤗theater. In Dragon Return🤒😊🤐s―the 😏story of a solitar🤒%[😔y 😐%😒hero 😝🤔😐😍😃w🤤🤢;🤥;ho 😘🙃is needed! 🤕 by villagers livi😄;*🤩🤕ng far in the🤔😷🤪 m#🙂ount*🤭😆)ains😚😀, but who😝🤢\ is re%,!jected 😂_b[😇
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em at th😃 e same 🤣🤩🤤🤕t🤕😴ime beca😶/🤕use of his d😅@😇et🤩;/achment―Grecner br; 😐🙄oug🤪😌🤫ht the tradi=😉\🤒*ti😴😂😬🥰o😜😜🙄n of😋🤪🤒😅 lyricized ,[😘🙄prose to 🤥life 🤒(😋through #🤗a whole:😃 series of formal😝[] aestheti🤗c te😀🤕chniques😛😉🤢. Alain Robbe-G🙃😔rillet immedi)😷🤪ate🤪🤣🤫😶ly d-eve😉😷loped this🤥 i😆😉😉😏dea 🥰🤩i😙😐n the 😇f🤨🤨]😬i]_😷🤫l😒m shot! in Bra😴😄 tislava The M🙂😪an 🤤🙂*Wh😑🤗o Lies =(Slovak Muz, ktory luze; French tit😐🤢le L'h😛😌🙂o😬😆😀mme q!🤪😌)ui ment; 1968),]+🤣_🤥 and perfected 😂(🤪😌it in Eden 😂😄and After (Eden🤗🤑🤪 a p#😪otom, 1970).