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双人打扑克剧烈运动又疼又叫弗拉达（莫妲·娜琳叻 Mookda Narinrak 饰）在很久之前就失去了母亲，之后父亲娶了新的妻子，弗拉达有了一个坏心眼的继母和一个骄纵蛮横的姐姐（帕潘妲·克林苏曼 Paphada Klinsuman 饰）。一天，父亲在驱车去探望弗拉达的途中遭遇了车祸，不幸丧生，这下子，弗拉达犹如一直绵羊，落入了继母的虎口之中。 车祸的另一方，是名叫提恩（苏格拉瓦·卡那诺 Sukollawat Kanarot 饰）的男子，当提恩得知弗拉达的继母准备将她卖给一个有钱的中国男人之后挺身而出，娶了弗拉达为妻，就这

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与Stefan Uher和Elo Havatta一样，Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》（1964）《尼绒月亮》（1965）和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显意识流风格的黑白影片甚至间接影响到了后来法国导演格里耶在捷克拍摄的两部影片《说谎的人》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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