这部由埃瓦尔德·朔尔姆执导的《第七日，第八夜》，可以说是“慢电影”的巅峰之作。埃瓦尔德·朔尔姆极擅用长镜头和极简的对白，营造出一种压抑又冷峻的氛围感，叙事节奏舒缓却充满张力。汉斯·约阿西姆·切斯扮演的入狱记者，将那种在希望与绝望边缘游走、渴望自由的窒息感演绎得入木三分。 影片没有大起大落的煽情，只有细碎而残酷的真相，直击人心。如果你是喜欢黑色悬疑、人物心理剖析以及挑战叙事结构的剧情片爱好者，这部作品绝对不容错过。两位主演约翰·福斯特和伯纳德·克里辛奉献了极具张力的表演，将那种略带荒诞与孤独的旅程演绎得淋漓尽致。

This apocalyptic parable carries within it a clear echo of the 1968 invasion of Czechoslovakia. This unforgiving exploration of the Czech mentality tells the tale of a troupe of wandering actors who perform a passion play in some unnamed village. Fear of some unknown danger breaks out in the village, which is cut off from the surrounding world. Stupidity, selfishness and aggressiveness then come to the surface in this society under threat. In the film's key scene, a woman is raped by the self-styled leader. Zdenuk Mahler, who would later work on Forman's examination Mozart Amadeus, worked on the script.　　The director Evald Schorm (1929-1988) was one of the most original members of the Czech New Wave. During the normalization era, Schorm spent many years unable to direct. His last film, Killing with Kindness (1988) was only made in the twilight years of Communism. During that period when he was unable to direct films, he became an outstanding stage director. He directed groundbreaking productions at the Na zábradlí Theater and Laterna Magika.

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