《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 Grecner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 After》 。 A special plac e in the de velopment of feature films is res erved for Eduard Gre cner, the creator of just one good film, Dragon Returns (Dr ak sa vracia, 19 67), titled after the nickname of the lead character. Aft er his init ial work with Uher, Grec ner made his mark as a proponent of the so-called "intellectual&qu ot; film, the antithesi s of the sociologically, o r rather, socially cr itical film. Grecner ' ;s great role model w as Alan Resn ais, a young French filmma ker who sought to intr oduce Slovakia to the idea of film as a labyrinth in which meanings are c reated not by s tories, but by complex configura tion s of dialogue, shots, and various layers of time, th us differentiatin g fil m from both literature and theater. In Dragon Returns―th e story o f a solitary hero wh o is needed by villagers living far i n the moun tains, but who is rejected by t hem at the same time bec ause of his detachmen t―Grecner brought the tradition of lyricized p rose to life throug h a whole serie s of formal aesthetic techniques. Alain R obbe-Gr illet immediately developed this idea in the film shot in Br atislava The M an Who Lies (Slova k: Muz, ktory luze; French title: L' homme qui ment; 1968), and perfe cted it in Eden and After (Eden a pot om, 1970). 陆灵蹊搂住小家伙 时，心里 软软的，“我们也好想你，放心，爷爷会上来的，青主儿和葵葵也会上 来的，以后 还会有敖象、小贝他们，对了，他们也有礼物给你噢，神 神秘秘地封着，也没让我看，回头 你瞅瞅，要是宝石什么的，也分我两块玩。”
