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).
艾拉·奥弗比,安妮·达尔·托普,塞罗姆·埃内图,英格丽德·吉耶弗,西莉耶·布雷维克,安妮·玛丽特·雅各布森,拉尔斯·雅各布·霍尔姆,瓦尔德马尔·多麦嫩·伊尔根斯,布林贾·阿贝·本德里恩,安德琳·萨瑟尔,艾拉·博特纳-比,阿马尔·贝纳瓦斯,安妮-卡伦·希滕,诺拉·哈格斯特罗姆,纳迪亚·邦内威,玛雅·福尔德,埃亚·萨拉内瓦,阿里·阿尔巴拉赞齐,萨里·卡德尔
劳尔·卡拉米,Charles Peccia,Julie Froger,基尔特·范·朗拜博格,Rébecca Finet,艾萨图·迪亚诺·萨格娜,帕斯夸莱·当卡,Jean De Pange,Véronique Vanonckelen,Romane Parc,Madison Maire,Elizabeth Dutreilh,Malika Zerrouki,Juliette Savary,Véronique Lefort Wagner,William Bonnet,Maïmouna Cissoko,Benoît
藤龙也,麻生久美子,中村久美,德井优,山田雅人,日向丈,菅原大吉
藤吉夏铃,高石明里,久间田琳加,中井友望,纲启永,高岛政宏,外原宁宁,优太朗,笕美和子,石仓三郎
于小磊,孙金良,蒋珊,忻宇杰,许还山
海伦·文森特,若西安·巴拉斯科,露德温·塞尼耶,皮埃尔·洛廷,索菲·吉耶曼,加朗·厄洛斯,马立克·兹迪,保罗·博雷佩雷,文森特·科隆布,米歇尔·马谢罗,玛丽·劳伦斯·塔尔塔斯