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男生獎勵自己視頻素材與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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和初戀對象幸太郎結婚，對新婚生活滿懷期待的柚季（架乃由羅 飾），開始面臨不同於戀愛時期的身分轉換，也對婚後枯燥乏味的床第生活感到不滿足。某日，柚季在同學會與對她抱有好感的隼人重逢，另一方面，幸太郎向上司傾訴夫妻私生活的煩惱後，上司竟提出解放性關係的建議…柚季與幸太郎會如何面對全新的婚姻考驗呢？

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（總臺央視記者 大煮伊在2021）?