《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 Uh er和Elo Hav atta一樣，Ed uard 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 After》。　　A special place in the development of f eature film s is reserved for Edu  ard Grecner, t he creator of just one good   film,  Dragon Returns ( Drak sa  vraci a, 1967 ), titled afte r the nickname of the l ead characte  r. After hi s initial  work with Uher, G recner mad e his mar k as a proponent o f the so-called "int ellectual&qu ot; fi lm, the antithesis of the sociological  ly, or rather , socially crit ical film. Grecner's great role  model was Alan Re  snais, a young French filmma  ker who sought  to introduce Slovaki a to the idea of fil m as a la byrinth in which mean ings are  created no t by storie s, but by c  omplex  configurations  of dialogue  , sh ots, and various l ayer s of time, t hus d iffer entiating fil m from both literature and the  ater. In Dragon Retu rns―the story of a s olit  ary hero who   is nee ded by villagers living far in the moun tains, but  who i s rejec ted by them at the same time because of his detachment―Grecner broug ht the  tradition of lyricized pr ose to life through a whole serie s of form al aesthetic techniques. Alain  Robbe- Grillet immediately developed this ide a in the film shot i n Bratislava The Man Wh o Lies  (Slovak: Mu z, kt  ory luze; French title: L';homme qui ment;  1968), and perfec ted it in Eden and After (Eden a potom, 1970　　说到这里，她把她在幽古战场好不容易拍来的宝物拿出，“师父，这是我们在大拍卖会上拍到的春月莲子，一共有四十九枚，听云天海阁的朋友说，他们的宗主，以前就服用过 不少春月莲子，您试试看，有 没有用，如果有用，我们以后多替 您留意着。”