In the summer of 1945, the people of a small Japanese village find a Black American helicopter pilot in one of their traps and lock him in the communal storeroom. While the war continues and the villagers wait for orders from above, the man – for the townspeople, his presence, this allegory – becomes something else.

“Your keeping this animal has meant all of us suffer!”

飼育 shares more than a few themes with Đorđe Kadijević's Празник from 1967. The war's the same, any war is, and the Chetniks too capture a Black American pilot. Again, the villagers seem to share a folie, a madness, rooted in an unshaken belief – call it tradition or shared illusions foolishness or hope.

A car accident.

An escape of sorts, in love and lust.

“He puts his cheek to the wall. With a kiss he licks the vertical surface and the greedy plaster sucks in his saliva. Then a shower of kisses.”

– Jean Genet, Notre-Dame des Fleurs (1942/43)

“Even you, Ear, can't listen in the toilet!”

– Ludvik

“I'll take you to the horses. I'll take you to the Moon.”

– former NASA employee talking to his granddaughter

Auld Lang Syne is sung on Burns Night (Scotland)

“On old long syne my Jo, On old long syne, That thou canst never once reflect, On old long syne”

– Robert Burns, Auld Lang Syne (1788)

“War is declared! Down with monitors and punishment! Long live rebellion! Liberty or death! Hoist our flag on the school roof! Stand firm with us tomorrow! We'll bombard them with rotten old books, dirty tin cans, smelly boots and all the ammo piled up in the attic! We'll fight those old goats on commemoration day! Onward!”

– Tabard, one of the students

“When you work with the cosmos, suddenly you get ideas for how to treat some visuals, like some images that had no intention of being in the film. That’s the freedom of the independent. Normally when you’re making a movie, it's almost pre-set, what elements will go in, so it will have “a unified structure”. But for me, I shoot so many things impulsively, that once I start editing a movie, suddenly there is an imperative for this obscure shot to come in here … or there. You keep juggling until you find on organic flow. You don't have a script, you just do it by feel. You're surprised that audiences like it.”

– Kidlat Tahimik, via