《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 Havatt a一樣，Eduard Grecn er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 A fter》。 A special place in the development of feature f ilms is rese rved f or E duard Grecner, t he creator of just one goo d film, Dragon Retur ns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-cal led "inte llectual" fil m, the antithesis of the sociologically, or rather, socially critic al fi lm. Gre cner's great ro le model was Al an Resnai s, a young French filmm aker wh o sought to introduce Slovakia to the id ea of film as a la byrinth in which meanings are creat ed not by stori es, but by comp lex con figura tions of dialogue, shots, and various layers of tim e, thus differentiating film from both literature and theater. In Dragon Retur ns―the st ory of a sol itar y hero who is needed by vill agers living f ar in the m ountains, but who is rejected by them at the same time becaus e of his detach ment―G recner brou ght the tradition of lyricized prose to life through a whole series of formal ae sthetic t echniques. A lain Robbe-Grillet immediate ly developed this idea in the fi lm shot in Bratis lava The M an Who Lies (Slov ak: Muz, ktory luze ; French title: L'homme qu i ment ; 196 8), and perf ected it in Eden and After (Eden a potom, 1970). 宁知意点头，“他现 在每次来 ，都是从这里进。”说到这里，她想到什么，现场给她复制 了一枚玉简，“陆望老祖参与了仙上楼三百六 十八家的禁制改造，他在各店都弄了一个随机传送阵，你记住各店传送阵的位置，以后出门遇到危险，寻就近 的仙上楼，百里内随时可 定位传送。”
