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).
祖扎娜·菲亚洛娃,Jozef Abafi,Natalia Fasankova,Jana Markovicová,Damián Humaj
天海祐希,大桥和也,伊原六花,上白石萌音,平泽宏宏路,伊礼姬奈,白山乃爱,番家天嵩,今濱夕輝乃,山本未来,渡边圭祐,田中里衣,JIRO
河成国,姜素怡,权海骁,赵允熙,朴美素
Louna Dazzi,Andrea Schieffer,Anne Steffens,André Petit,Abdelilah El Fari,Annie Brethon,Stéphanie Convertino,Claire Gousseau
谭耀文,林家熙,郑浩南,姚乐怡
韩栋,罗立群,沈芝弈,杜奕衡,吴春怡,谭琍敏,傲蕾,罗予甜