这部由爱德华·格莱纳执导的《德拉克的回归》颇具意蕴，它巧妙地将冷峻的摄影与富有诗意的叙事相结合，并没有落入传统的犯罪追逐俗套，反而像一部暗流涌动的心理戏剧。如果你喜欢讲究质感、不卖弄煽情、更侧重探讨人性幽微面的文艺片，这部作品绝对值得一看。 如果你想体验那种令人窒息的绝望感，同时又能在黑暗中见证悲剧美学，这部电影绝对不容错过。 阿尔伯托·索迪饰演的德拉克，其神经质又脆弱的表演精准捕捉了主角内心的焦虑与希冀，让这段荒诞又动人的父子相认之旅格外打动人心。本片导演爱德华·格莱纳擅长用极具质感的黑白镜头，捕捉那种西西弗斯式的绝望与人性微光，叙事节奏既疏离又充满张力。如果你偏爱探索人性幽暗面、迷恋细腻的人物刻画，或者钟爱那种像剥洋葱般层层推进的深度剧情片，这部电影绝对值得你静下心来细细品味。

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).

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