死神名为天使

要將捷克新浪潮看得完整通透，必從卡達和克洛斯這對超齡新潮人開始。五十年代成名，六十年代新潮湧起即成中流砥柱，本片是東歐電影擅長的年輕人於戰火中磨練成長的題材，敘事卻是銳意破格走意識流。游擊隊員重傷療養，噩夢中幕幕往事撲面而來，法西斯暴行與反抗者的以暴易暴，同志的犧牲和愛人的離散，或流麗詩情，或殘酷白描，以內省和戲劇形式交替展現。當年被譽為與《廣島之戀》遙遙呼應，國族特色各有千秋，但那遭受戰爭蹂躪，此情只待成追憶的苦結確是共同的戰後思緒。
　　
　　莫斯科電影節首獎
　　
　　關注嚴肅的道德及社會問題、糅合人生悲喜、運用風格化的技巧營造某種幻想元素──卡達與克洛斯在影片中注入的這些特點，正好反映了六十年代中捷克新銳導演輩出的新浪潮的個性。
　　
　　- Alistair Whyte, New Cinema in Czechoslavia
　　
　　Revenge is a dish best served Czech. In the last days of the World War II, a passionate Czech resistance fighter lies wounded in a hospital bed. Though paralyzed, Pavel (Jan Kacer) is kept alive by his determination to track down the Nazi commander that killed his comrades. In a device far pre-dating The English Patient, a kindly nurse (Blazena Holisova) listens to Pavel's memories, which reveal complex truths about the nature of love and war. This striking tale of justice was the first collaboration of directors Kadar and Klos since their last film was banned by the Czech government in 1958 — and though set during WWII, contains some bold censure of the Communist regime just under the surface.
　　
　　First Prize at Moscow Film Festival
　　
　　Concern with serious moral and social problems, the blending of humour and tragedy, the willingness to exploit stylistic techniques that create a certain element of fantasy, these features in the films of Kadar and Klos reflect qualities of the whole New Wave of young Czechoslovak directors of the mid 60s.
　　
　　- Alistair Whyte, New Cinema in Czechoslavia
　　
　　Source: HKIFF Czech New Wave 2006