In the closing br montage of the film br My Kiev Precincts br the village goats trot br backward into the br main street with their br chopped-off heads back br on again, the nipples br bleed in reverse and br reattach to the mother's br breasts, the cantor's tongue br reconnects and he br finishes the prayer br over wine—the raped girl br stops shaking, the glass br in her cut face is br a green bottle again, br the ladle returns to br her hand dipping into br a broth—the wood they br boarded-over the windows br and doors of the filled-up br temple before they torched br it returns back to the br table, returns back to br the cart and the door, br returns to a pickle br barrel, returns to a br large puppet with a knife br in its boot for the next br time—the re-circumcised br are de-circumcised, the br blood unsprays from the br wall—the stomped unconscious br appear to be kissing br the boot bottoms as they br arch back from the raised legs br of two men rigidly br balanced, their laughter untwists br back into their mouths—and the br rooster nailed through the eye br onto a post with the carved br village name drops down and br starts to fan his wings around br a hen with hot eyes, as br though never interrupted, br and the hen’s wings toss br back the fire set to the br thatched roof, which br reassembles out of br the ashes, which unburn br the roof thatch, which begins br to barely vibrate from br the closer pounding br of the men, of the horses.