《德拉克的回歸》是由知名导演愛德華·格萊納 执导的一部劇情片，拉多萬·盧卡夫斯基 古斯塔夫·瓦拉赫 艾米麗娅·瓦 等倾情出演，该片讲述了： 與Stefan Uher和Elo Havatta一樣，Eduard Grec ner也是6 0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》（196 5）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 識流風格的黑白 影片甚至間接影響到了後來法國導演格裏耶在捷克拍攝的兩部影片《說謊的人》 和《Eden and A fter》。 A special place in the development of feature films is reserved for Eduar d Gre cner, th e creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nick name of the lead character . After his initial work with Uher, Grecner made his mark as a proponent of the so-called &q uot;intellectual"; film, the antithes is o f the sociologically, or rathe r, socially critical film. Grecner's great rol e mo del was A lan Resnais, a young French film maker wh o sought t o introduce Slo vakia to the idea o f 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 differentiatin g fi lm from both literature and theater. In D ragon Retur ns―the story of a solitary hero who is needed by villagers li ving f ar i n the mountains , but who i s re jected by them at the same t ime because of his detachment―Grecner brough t the tradition of lyricized pr ose to life throu gh a whole series of formal aesthetic techniques. Alain Robbe-Grill et immediately developed this idea in the film sho t in Brat islava The Ma n Who Lies (Sl ovak: Muz, ktory luze; French title: L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970). 她朝两边的贵宾席和下面的看台，团团一揖 ，“佐蒙人是肯定要杀我的 ，他们善用渗透之法，所以 ，林蹊在此恳 请诸位前辈，诸位道友，看在我也算为仙 界立过一点功劳 的份上， 一起监督一下，在 我未晋天仙之前，不要让任何人，以任何理由 ，打断我在刑堂的工作。
