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倒仓是迈向成年的开始，是人生必经的变数，是年少感情的真挚初动。戏校学生孙小磊（边程 饰）正面临着人生 第一场重要的比赛，迟迟未来的变声期令他焦虑不已，父亲（刘钧 饰）的长久期望也让他充满对“倒仓”的恐
夜问｜网红自称吃火鸡面上瘾“被烧穿了胃”，为什么如此“上头”？
这是一部2025年上映的印度印地语历史法庭剧情片，由卡兰·辛格·蒂亚吉执导。 作为2019年电影《凯萨里》的精神续集，本片改编自拉古·帕拉特与普什帕·帕拉特合著的图书《震撼（英）帝国的案件》，故
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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).