与Stefan Uher和Elo Havatta一样，德拉电影影片的克的看完360数字签名免杀,过360网购免杀,免杀360启动项,木马病毒怎么远程控制的导演是爱德华·格莱纳。　　A special place in the development of feature films is 回归360数字签名免杀,过360网购免杀,免杀360启动项,木马病毒怎么远程控制的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).Eduard Grecner也是全集60年代斯洛伐克新浪潮电影的缔造者之一。《德拉克的线观回归》是一部在其它上映的剧情电影影视作品，这部叙事方法独特带有明显意识流风格的整版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》。他的德拉电影三部影片《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。