剧中主人翁任艺自幼酷爱影视，邮政梦想能当一名出色的演员，邮政一直坚持自己梦想的他在剧组摸爬滚打，从做剧务、当群演直到开影视公司，虽然吃尽苦头、受人白眼，但他从未放弃做演员的梦想，结束北漂的日子后，他回到了自己的家乡河南。不甘示弱的他，立志要在家乡拍一部属于自己的电影。在众人的反对声和嘲笑声中，他和一群志同道合的人走到了一起，历经重重困难，终于拍成了一部属于自己的平民电影，实现了梦想。这部影片主要讲述的是一帮年轻人，都怀有一个共同的梦想，就是拍电影。历经失败和挫折，在他们的坚持与努力下，最终实现了自己的梦想。也就是说只要怀抱梦想，就一定有理由成功，这是一部激发年轻人的励志电影，通过社会的真实性再现,酸甜苦辣,人生百态.一群平凡的人，做了一件不平凡的事！
梦扬
回复 :在八路军与日军的一场战斗中，刘班长和几个战士与大部队走散，被一队日军追杀，弹尽粮绝之时，幸得神秘大侠秦大川（方帅饰）相救。刘班长带着三个八路军战士躲进太平村，日军紧接着占领了太平村。日军军官木村正雄找来村长问出了秦大川的下落，派出武士趁夜捉拿秦大川，秦不慎受伤招架不住，忽然出现一女侠客姚梦雪（侍宣如饰）将他救下并把他带到一山洞里。通过交谈，二人都是为了亲人报仇才来到这个村子的。英雄相惜，秦建议二人以后共同杀敌，姚梦雪却独自走了……
池赖广
回复 :军阀混战,以甘遮浪为首的山匪聚众起义,赶走鱼肉百姓的程军。程督军的长女云苏被当成俘虏，扔到了甘遮浪的床上，甘遮浪对其萌生情意，云苏隐瞒身份，与甘遮浪做了夫妻。三年后，云苏的未婚夫夏君棠领军打了回来。云苏对甘遮浪道出真实身份，并阻止两个男人的对决。甘遮浪忍痛送回云苏。夏君棠却逼云苏帮他杀甘遮浪，云苏不从。甘遮浪救云苏，云苏不愿祸及他，未能同行。后甘遮浪挟持云苏之妹云楚而脱险，考虑再三后，解散部队，随云楚回程军，只为让云苏安心再嫁夏君棠。云苏愿随夫赴死。夏君棠终于放弃了云苏。云苏与甘遮浪携手远去，过平静幸福的日子。
阮丹青
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).
