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电影
322档案
1970 / 捷克斯洛伐克 / 剧情
Václav Lohniský / 卢茜娜·温尼斯卡 / 约瑟夫·阿布汉姆 / 米罗斯拉夫·马哈切克 / 弗兰季塞克·兹瓦里克 / Vladimír Weiser / Emil Horváth St. / Viktor Blaho / Jana Svandová / Bozena Sérová / Marta Raslová / 卡雷尔·奥古斯塔 / Zdenek Blazek / Olga Chodáková
Mannheim-Heidelberg International Filmfestival Year Result Award Category/Recipient(s) 1969 Won Grand Prize Dusan Hanák A government official in Czechoslovakia mistakenly believes he has cancer. He reasons his involvement in clandestine activities during the Stalin administration have fated him to die from a dreaded disease. He searches for inner peace as he feels the guilt of his past transgressions. This film tied for the Grand Prize at the Mannheim Film Festival in 1969. Slovak director Dusan Hanak was one of Czech cinema's brightest and best talents of the '60s and '70s, but because of censorship this was not manifest until the late '80s. Dusan made an impact on the film world with his auspicious debut 322 (1969). Though banned until 1988, when it was finally released, it earned international acclaim and the Grand Prix award at the Mannheim Film Festival. Hanak's sophomore effort, the documentary Obrazy Stareho Sveta/Image of an Old World (completed in 1972), was also not released until 1988 and neither was his 1980 film Ja Milujem, Ty Milujes/I Love You, You Love. Only Hanak's 1976 film Ruzove Sny/Rose-Tinted Dreams passed muster with censors and saw a timely release.
电影
德拉克的回归
1968 / 捷克斯洛伐克 / 剧情
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
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).
电影
大街上的商店
1965 / 捷克斯洛伐克 / 剧情 / 战争
艾达·卡敏斯卡 / 约瑟夫·克罗纳 / 哈娜·斯利夫科娃 / 马丁·霍利 / 亚当·毛泰伊考 / 弗兰季塞克·兹瓦里克 / 米库拉斯·洛迪津斯凯 / 马丁·格雷戈尔 / 阿洛伊兹·克拉马尔 / Gita Misurová / Frantisek Papp / 海伦娜·兹瓦里科娃 / Tibor Vadas / Eugen Senaj
1942年，沦陷的斯洛伐克某小镇上，德国人正在主持修建庞大的木制纪念碑，但当地木匠托尼（Jozef Króner 饰）对此并不关心，妻子的唠叨已经让他足够烦恼。托尼的妹妹嫁给军官后生活大有改观，托尼也借妹夫的权利，获赠一纸批文，得到了大街边一家犹太商店的所有权。店主是一位78岁的犹太寡妇劳特曼（Ida Kaminska 饰），耳聋眼花，托尼与她夹缠不清之际始发现这家商店徒有空壳，早已没有多少货物，然而照顾劳特曼可以得到犹太组织的酬劳，托尼于是瞒着妻子在店中帮工，对外却宣称自己是店长。不久，德国人开始把犹太人收押后运往集中营，托尼想要藏起劳特曼，但心中经历着巨大的煎熬。商店外，犹太人在纪念碑下集中出发，商店内，托尼面对不明所以的老妇借酒浇愁……<br>本片获1966年奥斯卡最佳外语片奖。