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剧情简介 《捷克斯洛伐克60年代新浪潮电影二十五面体》是2010年的一部纪录片。由马丁·舒利克执导，斯特凡·乌赫尔、米洛斯·福尔曼、Jaromil Jireš等联袂主演。捷克斯洛伐克60年代新浪潮电影二十五面体，又名25 ze šedesátých, aneb československá nová vlna、捷克斯洛伐克60年代新浪潮电影二十五面「睇」。The 2-part feature-length documentary "25 ze šedesátých aneb Československá nová vlna" ("25 from the Sixties, or Czechoslovak New Wave") presents a complex view of the phenomenon of Czech and Slovak New Wave in the cultural and social context of the 60's. 25 fundamental films commented on by their makers and film historians offer the viewer a dramatic insight into the golden era of Czechoslovak cinema. The documentary is a follow-up on the biographical TV series "Zlatá šedesátá" (Czech Television, 2009), based on the filmmakers' personal remembrances. As opposed to the series, the documentary presents the Czech and Slovak cinema of the 60's in the national, international and also inter-generational context. It describes the ways the New Wave crossed the existing artistic boundaries, how it variegated the world cinema and where it left an ineffaceable impression. It analyses the work of filmmakers in a state-funded cinema, under the pressure of ideological demands on one hand and commerce on the other. It presents the dilemma of a man - an artist - on the edge between contradictory social systems and incongruous aesthetic requirements. The existential drama of a man acting freely and at the same time mercilessly crushed by the wheels of the system. The 60's are, from this point of view, mostly an era of fortunate historical constellation, not only in - at that time - Czechoslovakia, but on a world-wide scale. An era of expectations and upswing, but also an era of exemplary human decisions and artistic pursuit. Those are some of the things "25 ze šedesátých aneb Československá nová vlna" wants to commemorate. Part 1 comments on: ■"Slnko v sieti" ("The Sun in a Net," 1962) by Štefan Uher ■"Konkurs" ("Audition," 1963) by Miloš Forman ■"Křik" ("The Cry," 1963) by Jaromil Jireš ■"Postava k podpírání" ("Joseph Kilian," 1963) by Pavel Juráček & Jan Schmidt ■"Každý den odvahu" ("Courage for Every Day," 1964) by Evald Schorm ■"Démanty noci" ("Diamonds of the Night," 1964) by Jan Němec ■"Intimní osvětlení" ("Intimate Lighting," 1966) by Ivan Passer ■"Ať žije republika" ("Long Live the Republic," 1965) by Karel Kachyňa ■"Obchod na korze" ("The Shop on Main Street," 1965) by Ján Kadár & Elmar Klos ■"Romance pro křídlovku" ("Romance for Bugle," 1966) by Otakar Vávra ■"Sedmikrásky" ("Daisies," 1966) by Věra Chytilová ■"Ostře sledované vlaky" ("Closely Watched Trains," 1966) by Jiří Menzel Part 2 comments on: ■"Kristove roky" ("The Prime of Life," 1967) by Juraj Jakubisko ■"Stud" ("Shame," 1967) by Ladislav Helge ■"Svatba jako řemen" ("A Hard and Fast Marriage," 1967) by Jiří Krejčík ■"Drak sa vracia" ("Dragon's Return," 1967) by Eduard Grečner ■"Marketa Lazarová" ("Marketa Lazarová," 1967) by František Vláčil ■"Spřízněni volbou" ("Elective Affinities," 1968) by Karel Vachek ■"Spalovač mrtvol" ("The Cremator," 1968) by Juraj Herz ■"Zabitá neděle" ("Squandered Sunday," 1969) by Drahomíra Vihanová ■"Pasťák" ("The Decoy," 1968) by Hynek Bočan ■"Případ pro začínajícího kata" ("Case for a Rookie Hangman," 1969) by Pavel Juráček ■"322" ("322," 1969) by Dušan Hanák ■"Slávnosť v botanickej záhrade" ("Celebration in the Botanical Garden," 1969) by Elo Havetta ■"Všichni dobří rodáci" ("All My Good Countrymen," 1968) by Vojtěch Jasný …
综合评分：
DVD电影网评分8.8，算是一部高评分电影作品，亲们，能有此分数的电影也为数不多呀，推荐大家值得观看。
影迷点评：
Cloud-D-Zoro 说：捷克斯洛伐克电影新浪潮的成功归功于1945年电影的国有化。1948年成为共产主义操纵下的牺牲品，1963年前后开始政治自由化。这种国家支出的自由带来了捷克斯洛伐克的电影奇迹。60年代兴起了关于疏离的讨论，个人开始脱离集体，但这个主题一直是个禁忌。直到《网中的太阳》的出现成为转折。人们开始讨论个性。福尔曼称《网中的太阳》导演乌赫尔为捷克斯洛伐克新浪潮的施洗者。60年代有两种电影，其一是真实主义电影，努力追求真实性，类纪录片；另一种则是一个风格化的写实，基于一个寓言。尽管60年代被认为是自由主义年代，但统治集团已经建立起来了，用存在主义观点反思过去如何影响现在。60年代的电影经常使用文学作品作为题材来源，那时文学也正兴盛。倘若没有60年代捷克斯洛伐克的这些电影，人们都对苏联入侵的反应就会弱的多。
我不是十三姨 说：《一切善良的村民们》，它在一个草木皆兵的时代出现，第一次公开放映是1969年7月，那时正常化运动刚刚开始。接下来的几个月里，整个捷克斯洛伐克电影新浪潮都消散了。有些人移民，有些人再也没有机会拍电影了，有些人在很多年的沉寂之后才重新开始拍电影，有些人低下了头，另一些人站得笔直。不过有件事是确定的，一个神话开始在这里产生了，一个还没有足够时间消逝的神话。
阿比盖尔之花 说：捷克斯洛伐克新浪潮，在新现实主义冲击下，旨在摆脱程式化，同时抨击斯大林主义的虚伪性，营造疏离感，不同导演命运不尽相同，被禁拍，远走他乡，沉溺许久后重拾镜头，看上去捷克斯洛伐克新浪潮影像故事没有紧密的连贯性，更像粗糙的叙事而去追求灵魂深处的共鸣，用来表达其他艺术形式所无法展现的超现实，不以娱乐大众作为基准点的探索
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