《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 Havatta一樣，E duard Grec  ner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》（1  965）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《Ede n an  d After 》。　　A s pecial place  in the dev  elopment of feature films is reserved for E duard Gre  cner, the creator of j ust one   good film , Dragon Returns (Drak sa vracia, 1967), titled after  the nickname of the lead ch aracter. Aft er his initial w ork with Uhe r, Grec ner made his  mark  as a propon ent of the so-called "intel  lectua  l" film , th e anti thesis of  the sociologically, or rather, socially crit ical film. Grecner's  great role model was Alan Resnais, a young French filmmaker who sou ght to intro duce S lovakia to the idea of fil m as a lab yrint  h in w  hich meanings are created not b y stories, but by complex configurations of   dialogue, s hots,  and  various layers of time, thus diff  erenti ating film from both liter  ature and theater. In D rago  n Returns―the st ory of a solit ary her o who is needed by villagers living far in the mountains, but who is  rejected  by th em at the same time because of his detachm ent―Grecner brought the traditi  on of  lyricized pros  e to lif e through a  whole series of formal aest hetic techn iques. Alain Robbe-G rillet immediat ely deve loped this idea in the film  shot in B ratislava Th e Man Who Li  es (Slovak: Muz, ktory luze; French title: L'homme qui ment ; 1968), and perfected it  in Eden and After (Eden a pot om, 1970).　　好半晌，他才放下玉简抬 头看向陆灵 蹊，“有这事。”他站起来  ，走向另一 边的玉架，从上面拿了一枚蓝玉制成的玉佩，“当初主人觉得 ，佐蒙人不会放过天渊七界飞升的一切生灵，但是人族寿元就那么多，人心复杂，他没办法因势力导，但是妖族却  可以。”