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該劇以女主顧嘉一的視角展示都市老年人們的生活現狀，她有一個事事替她操心的虎媽，一群永遠一呼百應拿她當親姑娘養的阿姨們，她比常人多了幾倍的關愛，也多了幾倍的煩惱。這群老人們之間有著各種瑣事，或是被疾病困擾、或是與子女不合、或是毫無來由的發神經，他們有幾十年的深厚感情，每當相遇卻因無法消除的誤解爭吵不止，卻又在老伙伴們遇到困難時，靜靜得守護在彼此的身邊。在這部劇中集中體現了細碎又不乏溫暖的正能量。這些相伴走過了幾十年的老朋友們，在人生邁入暮年之時，約定放下世俗的煩惱，一起去看看這個世界。等到自己老到不能動的時候，約定一起來養老院頤養天年。
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).
北京正中堂中醫醫院｜國醫大師王慶國：看舌象辨寒濕、濕熱！一苦一甜2杯茶幫您對證祛濕
趙德發：日照是我海洋文學寫作的起點，愿帶學子經山歷海，培育文學新人