《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 U her和 Elo Havatt a一樣，Ed uard 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 spe cial place in the de velopment of feature films is reserved for Eduard G recner, the cr eator o f just one good fi lm, Dragon Returns (Drak sa vracia, 19 67), titled after the nickname of the l ead char acter. After his initial w ork with Uher, Grecner made his mark as a proponen t of the so-cal led " ;intellect ual" f ilm, the antithe sis of t he socio logic ally, or ra ther, socially cri tical film . Grecner's great role model was Alan Resnais, a young Frenc h filmmaker who sought to introduce Slovakia to the idea of film as a l abyrinth i n which meanings are created not b y st ories, but by compl ex configura tion s of dialogue, shots, and v arious l ayers of time, thus differentiating film from both literature and the ater. In Dragon Returns―the story of a solitary hero who is n eeded by villa gers living f ar in the mountains, but wh o is rejecte d by the m at the s ame t ime because of his detachment―Gr ecner brough t the tradit ion of lyriciz ed prose to life through a whole se ries of formal aesthetic tec hniqu es. Alain Robbe-Grillet immediately developed this idea in t he film shot in Bratislava The Man Who Lies (Slovak: Muz, kt ory luze; French title: L9;homme qui me nt; 1968), and p erfected it in Eden and After (Ed en a pot om, 1970). 安画有些意兴 阑珊地摘下一个储物戒指，“驻地里的传送宝盒被洪叔带走了，这件事，我已经 给你们在天音嘱秘密留言了，所 以，他那边失却的东西，我管不了，这里的……是我们收集的各方资料，你好好看，也许对你有用。 ”
