1942年，沦陷的斯洛伐克某小镇上，德国人正在主持修建庞大的木制纪念碑，但当地木匠托尼（Jozef Króner 饰）对此并不关心，妻子的唠叨已经让他足够烦恼。托尼的妹妹嫁给军官后生活大有改观，托尼也借妹夫的权利，获赠一纸批文，得到了大街边一家犹太商店的所有权。店主是一位78岁的犹太寡妇劳特曼（Ida Kaminska 饰），耳聋眼花，托尼与她夹缠不清之际始发现这家商店徒有空壳，早已没有多少货物，然而照顾劳特曼可以得到犹太组织的酬劳，托尼于是瞒着妻子在店中帮工，对外却宣称自己是店长。不久，德国人开始把犹太人收押后运往集中营，托尼想要藏起劳特曼，但心中经历着巨大的煎熬。商店外，犹太人在纪念碑下集中出发，商店内，托尼面对不明所以的老妇借酒浇愁……
本片获1966年奥斯卡最佳外语片奖。

影片分三章代表三次战争：WWI、WWII和虚构的WWIII：
THE DESERTER (segment I) - A film against violence. A young soldier escapes from the horror of battlefield towards his country village, only to find violence there too, symbolised by the bloody killing of a pig.
SUNDAY (segment II) - Czechoslovakia during World War II. A farm is occupied by Russian partisans trying to sabotage Nazi troops in the neighbourhood. An itinerant egg seller is shot by the Russians as a spy. News arrive that the war is over. A German patrol enters the village and engages the Russians in a bloody battle. The film episode ends with a sequence showing the return of Soviet tanks to Czechoslovakia.
THE NOMADS (segment III) - Nuclear war is apparently raging on the earth. A handful of people including a young girl, all in rags or completely naked are in a fall-out shelter. The "White Hussar" (from segment 1) is there too and says he is Death. The girl wants to protect him from the others who want to get rid of him, and in exchange he leads her to the surface of the Earth which is denuded of any trace of life. The girl dies in a deserted windmill. The old man continues his search for people but soon he, too, dies.

Mannheim-Heidelberg International Filmfestival
Year Result Award Category/Recipient(s)
1969 Won Grand Prize
Dusan Hanák
A government official in Czechoslovakia mistakenly believes he has cancer. He reasons his involvement in clandestine activities during the Stalin administration have fated him to die from a dreaded disease. He searches for inner peace as he feels the guilt of his past transgressions. This film tied for the Grand Prize at the Mannheim Film Festival in 1969.
Slovak director Dusan Hanak was one of Czech cinema's brightest and best talents of the '60s and '70s, but because of censorship this was not manifest until the late '80s. Dusan made an impact on the film world with his auspicious debut 322 (1969). Though banned until 1988, when it was finally released, it earned international acclaim and the Grand Prix award at the Mannheim Film Festival. Hanak's sophomore effort, the documentary Obrazy Stareho Sveta/Image of an Old World (completed in 1972), was also not released until 1988 and neither was his 1980 film Ja Milujem, Ty Milujes/I Love You, You Love. Only Hanak's 1976 film Ruzove Sny/Rose-Tinted Dreams passed muster with censors and saw a timely release.

An epic saga of the Habdza family of vineyard keepers set in western Slovakian countryside at the beginning of the 20th century. Director Andrej Lettrich's novel adaptation talks of plotting, forbidden love, family discord, and struggle for heritage and power. The story is engaging thanks to the impressive performances of popular actors, dramatic situations, and sensitive music. Red Wine is not so much inventive in terms of auteurship as it is a work of excellent craftsmanship. The resulting picture is a costume production neatly adapted to the character of Slovak rural life in the past.

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》。