戰國竹簡“入住”中國文字博物館
與Stefan Uher和Elo Havatta一樣，Eduard Grecner也是60年代斯洛伐克新浪潮電影的締造者之一。他的三部影片《一周七天》（1964）《尼絨月亮》（1965）和這部《徳拉克的回歸》都是斯洛伐克新浪潮電影的代表作。這部敘事方法獨特帶有明顯意識流風格的黑白影片甚至間接影響到了后來法國導演格里耶在捷克拍攝的兩部影片《說謊的人》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).
金陵船廠造船忙
影片圍繞著一個男人和一個女人分別展開，男人是某組織的頭號目標人物，而女人則處在生命的盡頭。
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風景優美的山間公路，氣喘吁吁的凱爾，一邊奮力踩著自行車，一邊感謝死黨麥可貼心在他婚前安排這趟旅程。「我和你未婚妻上床了。」麥可突如其來的坦誠，讓上氣不接下氣的凱爾破口大罵，還得注意控制呼吸，好追趕上去
X市一年前發生了幾起殺人事件，警方多方查證發現幾起案件的相同之處是死者均為男性，且都死于割喉，案發地點均為H酒店。死者死亡時均裸體。疑似在尋歡高潮之時斃命。H酒店保安隊長老劉一直協助警察偵查剃刀