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与Stefan Uher和Elo Havatta一样，Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》（1964）《尼绒月亮》（1965）和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显意识流风格的黑白影片甚至间接影响到了后来法国导演格里耶在捷克拍摄的两部影片《说谎的人》和《Eden and After》。 A special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called intellectual film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak Muz, ktory luze; French title L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970).
七夕原创古风表情包上线！“迢迢”“皎皎”CP闪亮登场
艾米丽（伊文娜·林奇 Evanna Lynch 饰）从很小的时候起就是一个脑袋里塞满了古灵精怪想法的女孩，做事不按常理出牌的她，包括她奇奇怪怪的父母都是别人眼中所为的怪胎。在母亲去世之后，艾米丽的父亲（迈克尔·史麦利 Michael Smiley 饰）被送进了精神病院，艾米丽被送去了陌生的家庭寄养，她的性格更加的古怪和孤僻了。 一天，艾米丽邂逅了一个名为奥登（乔治·韦伯斯特 George Webster 饰）的男孩，和其他的人不同，奥登一下子就被艾米丽身上的神秘气质所深深的吸引。艾米丽告诉奥登，她想要去精神病院寻找自己的父亲，愿意为了艾米丽付出一切的奥登偷了他爷爷的车，两人踏上了旅途。
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