与Stefan Uher和Elo Havatta一样(🕰)，Eduard Grecner也是(shì )60年代(dài )斯洛伐(👋)克(kè )新(xīn )浪潮电影的缔造者之(🖲)一(⚫)。他的三(sān )部影片(🗄)《一周(zhōu )(🕖)七天(tiān )》（1964）《尼(🚥)绒月(🕌)亮(liàng )》（1965）和这(🙁)部《徳拉(lā )克的回归(🤯)》都是斯(sī )洛伐克新浪潮电(diàn )(🚣)影的代表(biǎo )(📯)作。这(zhè )部叙事方法独特带有明(㊗)显意(🥔)识(💻)流风格的黑(hēi )白影片甚至间(🌞)接影(yǐng )响到了(🙉)后来法国导演格里(🥫)耶(yē )在捷克拍(pāi )摄(shè )的(de )两部(bù )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).