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在酒吧做女招待的阿珍（邵美琪 飾）擁有一個雖然清貧但不失安定的三口之家，然而經歷了不堪回首的暴行事件后，阿珍不慎懷有身孕。阿珍打算自行墮胎，結果弄巧成拙，全家還經歷了嚴重的車禍。此去經年，阿珍一家生活步入正軌，只是心懷芥蒂的丈夫阿明（黃德斌 飾）始終對曾給家里帶來血光之災的女兒Lucy（梁祖儀 飾）沒有好感。眼看到了Lucy的生日，阿珍為女兒買了一條小狗做禮物。當天夜晚，小狗突然跑出房外，在野地中刨出一個奇怪詭異的罐子。Lucy不知好歹打開罐子，誰知在此之后便經常被可怕的幻覺和詭異事件所侵擾。 可怕的
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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).
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