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新婚夫妇穆里尔和李在后者从朝鲜战争回来后开始了光明的新生活,然而不久后,新建立的稳定状态被李魅力十足的弟弟朱利叶斯的到来颠覆,他是一个有秘密、任性的赌徒,一段危险的三角恋很快形成,三人立誓要一起在加州开始新生活。好景不长,随着朱利叶斯突然消失去到拉斯维加斯,他们对美国梦的追求破灭,穆里尔开始了她自己的秘密生活,进行赛马赌博,并发现了她从未想过的爱情。
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该死的赫梅
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Eyüp works relentlessly under the blazing sun during a tomato harvest in southeastern Turkey, driven by the urgent need to settle an impending debt. After a clash with his supervisor, he roams the ci..
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爱将我们分开
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「Love Will Tear Us Apart」では、久保田演じる真下わかばに関わる人たちが次々と殺されていくさまが描かれる。
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斗士2025
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在一个被不公正所笼罩的国家,一个火热的年轻人面对强大的腐败网络,挑战现状,为平民人民的权利而战。
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《德拉克的回归》剧情介绍

小小影视提供影视作品德拉克的回归高清全集在线观看的影视全集网,剧情片《德拉克的回归》全集作品的导演是爱德华·格莱纳   ,由拉多万·卢卡夫斯基  古斯塔夫·瓦拉赫  艾米丽娅·瓦萨约娃  威廉·波洛尼  Jela  Buckova  Jozef  Cierny  Pavel  Chrobak  米库拉斯·洛迪津斯凯  Ivan  Macho  Ján  Mildner  Andrej  Mojzis  Jan  Pelech  卢多维特·赖特尔  斯特凡·克维季克  Milan  Mach  主演,德拉克的回归在豆瓣的评分为0.0,本片由小编于2025-03-17 02:34更新,希望大家喜欢,可以把《德拉克的回归》推荐给你朋友,本作品的地址为 http://www.fotoyard.com/movie/index43511.html

《德拉克的回归》简介: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).

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