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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).
《一個調酒師的秘密》響(和田琢磨)為工作的酒吧店長·白州(升毅)的情侶關系而煩惱。對員工北杜(堀未央奈)的男性化感到不解，要求雇用新員工。在那樣的地方，最受歡迎的情侶的公司職員·鳥井(弓削智久)和山崎(中尾暢樹)來店，給予枯竭了的響的BL妄想滋潤。出于私利私欲提議的新員工·知多(須賀健太飾)是個長著可愛臉蛋的運動員，在響的腦海中新的派對開始了。Order02《命運的一對》店長的兒時好友、江之島仲見世的工會長小淵澤(山路和弘飾)來到店里，響為店長的“命運夫婦”現身而狂喜不已，但小淵澤的一件事卻讓響震驚不已。另一方面，新入職的知多雖然逐漸適應了工作，但待客態度還是不太好。響打算讓老主顧巖井(鈴木勝吾)和知多結為情侶，這時，巖井的朋友竹鶴(松島莊汰)偶然來到店里。
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