(🌠)　与Stefan Uher和Elo Havatta一(🎺)样，Eduard Grecner也是60年代斯洛伐(fá )克新浪(làng )(📼)潮(cháo )电影的缔造者之(👑)一。他(🗄)的(de )三部影片《一周(zhōu )七天》（1964）《尼(ní )绒月(🥞)亮(🗑)》（1965）和(🚑)这部《徳拉克的(de )回归》都是(🌙)斯洛伐(🚣)克(kè )新浪潮电影(🛑)的代(😞)表作。这部叙事方(🌊)法(㊗)独特带有(🗞)明显(📙)意(yì )识(✋)流风格的(🤠)黑白影片甚至间接影响到(dào )了后来(⛏)法国导演格(gé )里耶在捷克拍摄的两部影片(piàn )《说(shuō )谎(huǎng )的人(rén )》和(hé )《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).