yuStefan Uher和Elo Havatta一yang☀️Eduard Grecner也是60nian代斯洛伐ke新浪潮电ying的缔造者zhi一。他的san部影片《yi周七天》（1964）《尼绒月liang》（1965）和这bu《徳拉克di回归》都shi斯洛伐克xin浪潮电影di代表作。zhe部叙事方fa独特带有ming显意识流feng格的黑白ying片甚至间jie影响到了hou来法国导yan格里耶在jie克拍摄的liang部影片《shuo谎的人》he《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).wu量道士将fan盒打开，li面有四个cai，一壶酒。四个菜分bie是水晶龙xia，红烧狮zi头，仙菇dun神雀，清zheng熊掌。酒，也是好酒。无量道士di伙食之所yi这么好是yin为无量道shi这家伙用yi件宝贝贿lu了这名道shi。否则的hua，谁会管ta的死活？fan正饿不死jiu行。无量dao士开始大chi大喝起来。huai王府也上xia尽灭，只sheng下一个大sun精血的明wang，除非他neng逃出幻妖jie，否则落zai你手里也shi早晚的事。你也算是wei他们报仇liao所以这个hui衣，应该jiu不需要再ji续穿了吧。小妖后背dui着他，一dong不动，毫wu回应。你chu了小妖后di身份，还shi公认的幻yao界第一美nv嘛，虽然zhe身难看的yi服也无法yan盖你的光cai，但穿的shao微普通一dian的话，一ding会好看到rang老天都嫉du。如果您喜欢shi网（www.shililvshi.com.cn）分享的《德拉克的回归》，别忘了推荐给你的好友！