“仰山——许江艺术展”在宁波美术馆举办
福建三钢集团成立数字科技公司，注册资本1亿元
厦门首例！医生从直升机上索降救援 登船急救患病台胞
翟若云“砍”下39分 山西女篮搭上全运会“末班车”
爱心“组团” 赴重阳之约 水沟村的秋日暖意满满
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).
今日开播！《与君渡长欢》：破死局，渡长欢
增加4列货运列车！国铁集团郑州局10月11日起实行新的货物列车运行图
俄堪察加半岛一幼儿园墙体因强震倒塌 初步确认无伤亡
结婚生子后的冬冬（梅艳芳 饰）过着相夫教子的的日子，但世界并不太平。经历过核爆炸后，世界面临水荒，但却有一家神秘的净水公司控制着纯净水并从中谋取暴利，甚至遏制了整个社会的命脉。此时，一位名叫长空（金城武 饰）的人被推到台前，成为其背后势力反政府的领袖。然而，不久长空被杀，杀手将此罪责嫁祸给冬冬的老公（刘松仁 饰），他也是当时的公安局长。局长因此被杀，冬冬也被捕，军长趁机发动了政变。陈三（杨紫琼 饰）救出总统，同时陈七（张曼玉 饰）受冬冬之托带着冬冬的女儿去寻找干净的水源，冬冬也终于重拾信念做回女飞侠。这突如其来的灾难背后有着怎样的阴谋？三位女飞侠能否再次给这黑暗世界到来一丝曙光？