《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Stefa n Uher和Elo Havatta一 樣，Eduard Gre cner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 pla ce in the develo pment of feature fi lms is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vr acia, 1967), titl ed after the nickname of the lead charac ter. After his initi al work with Uher, Grecn er made h is mark as a proponent of the so-called &quo t;intellectu al&quo t; film, the antithes is of the sociological ly, or rat her, soci ally criti cal film . Grecn er's g reat role mode l was Alan Resn ais, a you ng French f ilmmaker who sought t o introduce Slovakia to the id ea of f ilm as a labyrinth i n which meanings are created not by storie s, b ut by complex configurations of dia logue, shots, and vario us lay ers of time, thus differentiati ng film from both literature and theate r. In Dra gon Ret urns―the story of a solitary hero who is needed by villagers livin g far in t he mountains, but who is reje cted by them at the same t ime becau se of his det achment―Gre cner br ought the tradition of l yricize d prose to life through a whole series of formal ae sthetic techniques. Alain Ro bbe-Grillet immedi ately develo ped this idea in the f ilm shot in Bratis lava The Man Wh o Lies (Slovak: Muz, ktory luze ; French title: L' homme qui me nt; 1968), and perfected it in Ede n and Aft er (Eden a potom, 197 0). 这一 次，她直接从袖中暗袋里摸出一个大型储物袋，“知 道我要来见您，不仅爷 爷让我给您带了好些黄金 谷做成的米 饭和各类点心，就是我师父师叔他们，都逼着宗里的大师父，给您弄了好些好吃的，我师姐采薇还把她弄的 极品花茶给我了。”
