Na samotě uprostřed Beskyd žije sedlák Ondřej Baran se svou ženou a dvěma dětmi. Je léto, brzy po skončení druhé světové války a v kraji se potulují banderovci, příslušníci Ukrajinské povstalecké armády, která za války kvůli vlastním nacionalistickým zájmům kolaborovala s německými okupanty. Malá skupinka se svým raněným velitelem obsadí Baranovu samotu, ukryje se tam a donutí Ondřeje, aby z města přivedl doktora. Dál už události plynou mrazivě pomalu, v izolaci od okolního světa – nemluvní povstalci jako ztělesněné tiché nebezpečí drží obyvatele statku i s doktorem v jakémsi zvláštním rukojmí a mladý sedlák jim ve strachu o svoji rodinu radši neklade odpor a doufá, že odejdou stejně, jako přišli. Syn Lukáš ale kvůli tomu považuje svého otce za zbabělce a nejraději by se banderovcům postavil sám. Ondřej si to uvědomuje a musí se rozhodnout, jestli je lepší dál vyčkávat, nebo dát všechno v sázku a situaci vyřešit.

Once more, Vlacil's films are largely about subjects that are not seen on screen. With some spoilers, here we have a story set in 1947 when Ukrainian right-wing anti-Communist guerillas, looking like and feeling like Nazi's, are trying to fight their way through Czechoslovakia to Austria. They come out of the forest to occupy a family's countryside farm house, kidnapping a doctor to help heal one of their wounded, but this could just as easily be about the post-war occupying forces in Eastern Europe, or the occupying Soviet forces in the 60's, as there is an initial belief that there is nothing anyone can do, or to coin a STAR TREK phrase, `Resistance is futile.' The film has a very languid pace which establishes the mood and pace of this small village, much of it is wordless, with a Sergio Leone acid-western feel, easily the most outstanding feature is the original music by Zdenek Liska, which plays on the inner psychological turmoil, providing an unseen character in the film. The father gives the appearance of passivity, as he is outmanned and outgunned, while his eager young son wants a taste of immediate revenge. But a wiser course of action is called for, waiting, giving the impression he is yielding to their demands, as the father wants to protect the lives of his wife and children, which allows for large doses of screen time where various family members are performing daily farm chores, just trying to survive this ordeal, while interspersed in each frame are men with machine guns who sadistically threaten their every impulse. This farmhouse under occupation represents a country under occupation, all feel like helpless victims where every moment is spent in fear, any minute things could spin helplessly out of control, and this film skillfully gets under everyone's skin.