今夜結(jié)束之前

備注：已完結(jié)

類型：劇情片

主演：亞娜·吉羅娃 伊特卡·澤萊諾霍爾斯卡 斯塔諾·丹恰克 馬里安·洛布道 

導(dǎo)演：彼得·索蘭 

語言：斯洛伐克語 / 德語

年代：未知

簡介：索蘭的新浪潮三部曲之二。另兩部是《巴納巴斯考斯事件》和《拳擊手與死神》?！　he action of the film takes place in the course of one night at a fashionable nightclub in Bratislava. The leading characters are two young girls who are spending their holiday in Bratislava and two boys who live there.

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巴納巴斯·考斯事件

備注：已完結(jié)

類型：喜劇片

主演：揚·布茲杜赫 約瑟夫·克姆爾 Jarmila Kostova Dagm 

導(dǎo)演：彼得·索蘭 

語言：其它

年代：未知

簡介：在交響樂團負責(zé)敲擊三角鐵的小人物高斯庸碌無能，練習(xí)還經(jīng)常缺席，然而上天仿佛特別眷顧他，讓他當(dāng)上樂團領(lǐng)導(dǎo)，還有伊人加持；本來傻兮兮沒有自信的他也開始傲慢起來，甚至表現(xiàn)出獨有的藝術(shù)野心。人世的荒謬不在成敗是否有理，而在于不論成敗，最終個人命運還是半點不由人。高斯作為個案，凸顯的豈止是國家權(quán)力機器下的非人性？由于題材敏感，制作延滯達七年之久，而彼得蘇蘭也因本片成為一個個案，以諷喻作抗?fàn)?，從此有了參考的座?biāo)。

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德拉克的回歸

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).

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