20世纪50年代的日本某个宁静小镇，染色家相泽知子（满岛光 饰）和那位亦师亦友亦情人的作家小杉慎吾（小林薰 饰）相守度日。新年将至，知子却因风寒病倒。敦厚但踟蹰的小杉最终没有留下来守候她，行色匆匆赶回家陪伴妻女共度除夕。几许凄凉萦绕心头，一通电话似乎排遣了知子的寂寞。电话的那头，是当年曾让知子抛弃了丈夫、女儿而选择与之私奔的青年木下凉太（绫野刚 饰）。前缘未了，旧情继续。从此每当小杉返回自己家的时候，知子便沉湎于和凉太的厮守当中。这是一场危险的游戏，谁都不想输，谁都输不起。或者同归于尽，或者抽身而去…… 本片根据日本著名天台宗比丘尼濑户内濑户内寂听大师出家前（本名濑户内晴美）的同名自传体小说改编。
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又是一年佳节（又）到，准备礼物真烦恼。结成小组互赠礼，还需外援加点料。 为了解决每年过节送礼物太麻烦的问题，M6+1结成了互助小组，有效减少需要准备的礼物总量。但他们没想到的是，这也让挑选礼物的
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水户香奈图解护士被干出白浆别再叫喊击沉美国航母了，击沉一艘航母有多难？说了你别不信
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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).
十五运会开幕式后首金出炉
（总台央视记者 水户香奈图解）
