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青草影视

德拉克的回归
其它其它1968
  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).

青草影视

邻家小侦探
其它其它2017
  阿加莎是个古怪的小女孩,总是发明一些奇怪的监视设备,并自诩为侦探。跟随妈妈搬入新社区后,她接到了一单调查商店失窃的案件。很快阿 加莎锁定了嫌疑人:住在隔壁的文森特。她偷偷翻进文森特家里探查,不料被文森特发现。妈妈以刚搬进街区促进交流的借口让文森特教她轮滑。  文森特每次下午便失踪一阵子,阿加莎经过跟踪、打听等手段,得知文森特曾经有个好朋友,她认为文森特在废弃的工厂绑架了那个小女孩。阿加莎想要劝服文森特,深感被误会的文森特在众人的指责下离家出走。  妈妈认为阿加莎在说谎,关停了她的侦探所。仍沉迷在侦探身份的阿加莎看到文森特偷偷回家,悄悄尾随他,发现他进入商店偷了一些狗粮。文森特气愤的跑开,而手抱狗粮的阿加莎被误认为是商店小偷。  阿加莎明白了一切,原来那个好朋友“小女孩”只是文森特的狗,他的哥哥对动物过敏,只好将狗狗送人,但文森特舍不得,又将其要了回来放到工厂里,偷那些狗粮也是不得已。生病的狗狗咬了文森特一口,阿加莎来到工厂,看到发烧的文森特,她急忙叫了救援,救了文森特和狗狗。  文森特最终好了起来,将小狗送给喜欢狗狗的阿加莎,而阿加莎小侦探的名声也传播开来。

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