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).
艾米·沃森13岁时亲眼目睹母亲死于无法治愈的疾病。从那以后，她把寻找治疗方法变成了自己的人生目标，最终成为一家高安保制药公司的研究员。她后来取得了一项具有突破性的研究成果，但事情很快失控——她的研究成果被盗，而她的研究伙伴遭到杀害。艾米也因此成为神秘追杀者的目标，被一路追进多洛米蒂山脉。艾米本身有两个非常致命的弱点：强迫症（OCD）和严重恐高症。而追杀过程中，她唯一能够逃生的路线，偏偏是一条架设在高空中的 zip wire——也就是类似高空滑索的钢索通道。
High end courier, Hank Malone, has three hours to transport a liver from LAX to a Santa Barbara hospital for immediate transplant surgery. The recipient? A dying seven-year-old girl with the rarest blood type on the planet. If only the head of the Southla
