《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 Ha vatta一樣，Eduard Gr ecner也是60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》（1965）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 Afte r》。 A special place in the developm ent of fea ture fi lms is reserved for Eduard Grecner, the cre ator of just one go od film, Dragon Retur ns (Drak sa vr acia , 1967), ti tled after the nick name of the lead character. After his initial work wit h Uh er, Grecner made hi s mark as a proponent of the so-called &quo t;intellectu al&q uot; film, the antithesis of the sociologically, or rather, socially c ritical film. Grecner's great role model was Alan Resnais, a young French fi lmmaker who sought to int roduce S lovakia to the idea of film as a labyrinth in which m eanin gs are created not by stories, b ut by comp lex configurations of dialogu e, shots, and various l ayers of time, thus d ifferent iating film from b oth literature an d the ater. In Dragon Returns―the st ory of a solita ry hero who is needed by villagers livi ng far in th e mountains, but who i s re jected by them at th e same time because of his de tachment―Grecner brought t he tradition of lyricized p rose to life through a whole serie s of formal aestheti c techniques. Alai n Rob be-Grillet immediately d eveloped thi s idea in the film shot in Bratislava The Man Wh o Lies (Slov ak: Mu z, ktory luze; French title: L'homme qui ment; 1 968), and perfected i t in Eden and After (Eden a potom, 1970). 想到那个神出鬼没的东西，印颜的心又剧烈跳动起来，“本来， 昌长老感觉能按住那条大尾巴，可是，不知怎的，它突然又厉害起来，然后，那小冥兽，好像鬼魅一般，借着地利， 连着抹了西才他们的脖子，昌长老没办法，才完全放开了身体的封印。”
