剧情简介

与Stefan Uher和Elo Havat😔[[😇ta一样，🤢😚Edua🤐😝 rd Gre🤤🤩😜🤔cne$😗?r也是6🤐🙄😶😜0年^代斯洛伐克新浪潮😚电影的缔造者之一。他的三部影片\😍《一😄 😛周😷!😚七天》😍😪😉😒（\🤥-🤒1964）《尼绒月亮》（1965🤑）和🤗🤢😝@这部《徳拉克的回😙=😇归》都是斯洛伐克新浪潮电影的代表作。这部叙事方(😷法独特带有明显意识[=🤭\🤪流风格😙[的黑白影片甚 🤪至间接影响到了后来法国导演格里耶%😆+在捷克拍摄的两部😊🤫$😌影片,🤐《😒😁说.😷😝谎的人》和😌😁🤮]《Ed🤫🙄😉en and@^ Af\^?ter》。　　A 🤗s🤐@.pecial plac,`e 😔 in t😪he de😅velopme(🤗😌😆nt of ;🤨😷feature films is re🤣s😋🤔erv^😍😛e😆)🙄😄d for E🤨du🤐😔🤮%ard🤣😌 ]/Grecner, t😴]😄he creator🤪`🤗 of just o\
.ne good film🤗$, Dra😪🤒😛gon Returns (Drak+ 🤑🤨 s😗😏😁a vr🙂😒😗a
,cia, 😏🙃🤣1🙃]967), title😪@😊d*🤒😬😅 after the (🤢😁nic😍kna😶😉me)/🤑+ of the lea#🤣-d chara 🤢😶cter. After his😏 initial work🤩🤫🤫 with Uher*😚😙 ,🙃😘😑🤤 Gre😂😴😷cner 🤗;🤩made hi🤗 s😋🤩 mark as%😶 😅🤕\a😄?🤗 pr ,🤭op🤤[😀onent of the s🤒🤐😚🤮o-ca😶
+😊😐l😷?^*😷le d🤨 inte %llectual film, the antithesis of the sociolo,gically, o😉😋🤔#r rather, socially criti; 😉cal 😒😄f 😬😝😝ilm. G@😜😆rec=😊ner's g🤐😂+reat role mod😁_:el was :🤤-Alan R😙😉]esnais, a young😒) French film🤒+😛m😉🤢aker 🤥🤒who 😙😄so?🤔 😜ught to ,!i🤔😐😍ntrodu🤤\😔😌\ce ^🤕:😘S🤗😔🤪lovakia t*😀o the😝😔🤪 idea😒# of fi🤤😆lm as a 🤤😐😇lab😷🤫yr😂😪inth in w😏hich meanings are 🤒crea-😌ted not by storie😁$s😑, but😚!😚 by c$:🤪om,🤫😋😒plex config*😇🤕 😬ur\🙂😑atio😒😄ns 😁$of di🙄😆😐alogu😏:e, shots,😬 a+\[🤣nd var😅😉🤢🤕ious layers🤢😜 🙄*of time, thus d🙃😅😏\i(😃 😚😁fferen😃😚😁tiati#😉 ng film !:fr+o m both l😌;it🤥😐erature and theate[😅🤩+😋r. In Drago😃😙-😙n R😑🤭eturns―t🤫🤪+he sto`😒🤤😅!ry of a:😒
😒:solitary he😃😜🤮ro who#😏😗 is n` 🙃eeded by ^)/v[illagers 🤫😀😚😋😍li😘😄🙄ving far in 🤪😷*😗t.he mountains, but who is reje*c🙃😂ted 🤩?by )😃;them at the s😔@am🤢e*😃; 😛😇 ]time b🤪😅%=😚ecau😊)se of/,😗^😊 .his detac😍\😝hment―Grecne 😚😐r brought t🤑😏🙃he tradi😴🤢tion of ly🤮ricized 🤐🤒pros🤐😌e to life. th🤢r😇🤤😗ough+🥰 a w🤭 🤤😇🤫h🙄😷🤗@ole series of for😏🤐😌^mal aesthetic t@echniqu🥰😝es. Ala

🤕in🙃😚 )#Rob🤕🥰😇be-Gril😏😪let immedia.tely deve🤐🤕=😶😶loped this idea in t`/🤩he film sh😘😏😪o😀🤪+t 
in%🤩🙄😅 Bratis🤢😘*😍lava The Man Wh🙂o Lie😬/🤤😑s (Slov😏ak Muz, k😶_😊tory lu😄!`🤣ze;:🤐+% Fren😶
ch title L'homme qui ment; 1968), 😶🤒🤤and per😴?$fected it🤣` in Eden and A😔/!😙fter (Eden a p/😬🤮otom, 1970).