平凡少女杜小灵暗恋隔壁班的阳光校草许阳，综合满腔的少女情怀却一直找不到表白的机会。叶寒是全校闻名的高冷学霸，综合备受女生爱慕。然而，杜小灵却对坐在她后面的叶寒有一种莫名的偏见。课堂上，老师对叶寒赋予的特权更是让身为学渣的杜小灵心生不忿。为了让叶寒吃瘪，杜小灵开始捉弄叶寒，两人 之间摩擦不断，然而，让杜小灵不解的是叶寒对她的恶作剧总是选择包容。叶寒对杜小灵的好，让暗恋他的校花韩雪伊暗暗嫉妒。与此同时，她的闺蜜好友赵冬梅为了替韩雪伊教训杜小灵，数次恶整杜小灵，却都被叶寒英雄救美，这让杜小灵对叶寒的感情发生了奇妙的变化…
回复 :《士气为零》导演携手《狐步舞》制片人共同呈现了浪漫喜剧《新婚之夜》，影片讲述的故事发生在耶路撒冷的一个晚上。一对新人在婚礼后来到了他们的豪华酒店套房，然而他们并没有一起轻松地度过一个浪漫的夜晚，反而是陷入了一场争吵，继而演化成了一场眼花缭乱的城市之旅。在这个寻常又不寻常的夜里，两人面对了各自过去的爱情、压抑的怀疑以及决定留在过去的生活。
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).
回复 :女学生小曼一次回家探亲便一去不返，失踪被发现后已经诡异死亡。作为同窗好友和闺蜜的芊芊，引导老师和三位同学一行人，不远千里来到远遥村，采风留宿，实则寻找哑女小曼的死亡原因，并为此复仇讨还真相。作为戏班班主女儿的哑女小曼，为何怀抱木偶曝尸荒野？而死后灵魂又如何被封印木偶中，午夜作乱？是自杀，还是阴谋？真凶由谁来惩？芊芊孤身探秘，勇闯凶宅，只为还闺蜜一个公道。
