担当某广告公司主管职务的马科尔斯（艾迪·墨菲饰）是一位英俊潇洒、午夜事业爱情双得意的黑人男子。他的风度翩翩和温文尔雅使无数妙龄女郎投怀送抱，午夜也正因为如此，马科尔斯与每位女郎的爱情都犹如暴风骤雨一般来的激烈，却很快无影无踪。不久他所在的公司与别家企业合并，新来的女上司杰奎琳（RobinGivens饰）性感迷人，马科尔斯将其锁定为下一个目标。很快两人一拍即合，但在一夜欢愉之后，他却如曾经那些被他抛弃的女郎一样被杰奎琳抛弃。这令马科尔斯倍受打击，事业急转直下……
唐朝
回复 :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).
因果兄弟
回复 :在华沙起义爆发前不久，一群当地的年轻人加入了地下组织，不仅是为了履行爱国 义务，同时也开启了一段青春冒险，可以跟同龄人吹嘘还可以吸引女孩子。在地下组织培训时，他们边调情、炫耀，边制订计划，殊不知接下来的那个夏天将是他们生命的考验，而历史已经为他们做好了计划。 他们成为华沙起义战斗中最为勇敢的组织之一，共同见证了牺牲精神和英雄气概，也看见了残忍、背叛与谋杀；他们懂得了爱，也体会了什么叫仇恨。尽管他们不情愿，历史还是在他们成熟的过程中，给他们上了血腥残酷的一课……
齐藤和义
回复 :Naomi是一名钢琴演奏才华的少女，但是母亲和同事的过高的期待让她喘不过气。她独自来到耶路撒冷寻求内心的平静。在这里她结识了两个信仰不同但同样爱好音乐的少年，他们让Naomi重拾了对音乐的热爱，面对宗教极端分子的各种暴行，Naomi决定用音乐来弥合不同信仰人群心中的鸿沟。
