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).
木村拓哉,大杉涟,织田裕二,妻夫木聪,齐藤由贵
格伦·克洛斯,英格瓦·埃盖特·西古德松,安德斯·丹尼尔森·李,佩卡·斯特朗,索菲亚·海基拉,埃米莉·马修斯
玛洛·赫比齐,伊迪尔·阿祖格利,安德丽·贝斯孔,Ashley Romano,亚历克西斯·曼蒂,Kilia Fernane,Léa Gorla,Alexandra Noisier,安东尼娅·布雷西,Sandra Bijou,Francesca Giromella,纪尧姆·维迪尔,Gaëtan Thomas,Jean-Jacques Rouvière,Mohamed Mallek,Rahimo Dennoun,Michael Yardimci,Hakim Bousnina,Maïssa Sabirh,Mahé
罗曼·杜里斯,茱迪丝·谢拉,Mei Cirne-Masuki,Tsuyu,内田春菊,Yumi Narita,帕特里克·德康,阿部进之介
仪铭,陈佩玲,龍宣,杨惠姗,万山,江彬,张复民,李影
萩原利久,藤堂日向,井浦新