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備注:已完結(jié)
類型:科幻片
主演:尤拉伊·赫茲 伊日·門澤爾 Ilja·Racek Pavel·Vond
導(dǎo)演:尤拉伊·赫茲
語言:捷克語
年代:未知
簡介:A doctor Marek is shocked when his beloved nurse Mima signs a contract with foreign car manufacturer...
備注:已完結(jié)
類型:恐怖片
主演:迪娜·霍瓦索瓦 Milan Bahúl Joachim Kemmer
導(dǎo)演:朱拉·亞庫比斯克
語言:其它
年代:未知
簡介:This is a very bizarre fairy tale. It commences with a wedding and singing and dancing but nearly the whole village is wiped out by wolves. The bride gives birth to a daughter several months later and promises her to the boy who saved her. Ten years later there is another disruption when Some circus folk come by and the villagers trick them into staying. Tragedy ensues... This has a strange cast, dwarfs, giants, priests and occasional intrusions from the modern world in the form of the police and a wonderer who returns bringing to the village the good news of Nostradamus. It is a long film but it honestly does not drag. and if you get bored of the plot you can always look at the sumptuous Countryside.
備注:已完結(jié)
類型:戰(zhàn)爭片
主演:伊萬·博爾內(nèi)夫 奧德里奇?凱瑟 尤莉亞·延奇 馬里安·洛布道 Mila
導(dǎo)演:伊日·門澤爾
語言:捷克語 / 德語 /
年代:未知
簡介:坐監(jiān)多年的揚?迪特(奧德里奇?凱瑟飾)大赦獲釋,他被“放逐”到捷克北部邊境森林里修一條看上去永遠修不完的道路?;叵肽贻p時候,迪特感慨萬千,那時的自己(伊萬?巴尼弗飾)只是個年輕的飯店服務(wù)生,卻立志要成為百萬富豪。小個子的他精通服務(wù)之道,同時不忘追逐金錢和女人。他先后到過生活奢靡的天堂艷樓,布拉格最氣派豪華的巴黎飯店。在那里,飯店領(lǐng)班告訴迪特,他之所以精通各項待客之道,是因為曾侍候過英國國王。
備注:已完結(jié)
類型:劇情片
主演:Milana Aguzarova Alik Karaev Soslan
導(dǎo)演:基拉·科瓦連科
語言:俄語
年代:未知
簡介:俄國導(dǎo)演Kira Kovalenko將執(zhí)導(dǎo)首部劇情長片[松開拳頭](Unclenching The Fists,暫譯)。故事發(fā)生在北奧塞梯山脈上的一個礦業(yè)小鎮(zhèn),故事圍繞著一個年輕女人為了擺脫父親的控制而展開。Kovalenko與Anton Yarush([親密])和Lyubov Mulmenko共同撰寫劇本。
備注:已完結(jié)
類型:戰(zhàn)爭片
主演:Syb van der Ploeg Milan van Weelden
導(dǎo)演:斯蒂文·德·瓊
語言:尼德蘭語
年代:未知
簡介:暫無簡介
備注:已完結(jié)
類型:劇情片
主演:拉多萬·盧卡夫斯基 古斯塔夫·瓦拉赫 艾米麗婭·瓦薩約娃 威廉·波洛尼
導(dǎo)演:愛德華·格萊納
語言:其它
年代:未知
簡介:與Stefan Uher和Elo Havatta一樣,Eduard Grecner也是60年代斯洛伐克新浪潮電影的締造者之一。他的三部影片《一周七天》(1964)《尼絨月亮》(1965)和這部《徳拉克的回歸》都是斯洛伐克新浪潮電影的代表作。這部敘事方法獨特帶有明顯意識流風(fēng)格的黑白影片甚至間接影響到了后來法國導(dǎo)演格里耶在捷克拍攝的兩部影片《說謊的人》和《Eden and After》?! 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).