At home, he begins a trilogy of long-term travel diaries, successful by Desertum and Exodus. I return to my parents' house, where I was born, after ten years away. What is there of me in the rooms of this house, in every corner? What are the traces of me? This search for an origin is done without psychology, but through a materialist cinema, with long-term still camera shots. The memories of the house are implicitly evoked through a radical look at its physical architecture, filled with an almost total emptying of the human figure. In a way, Em casa is an extension of the formalist researches such as Entremeio, but here the rigor of the structure that decomposes the house into presentation rooms opens up as the film continues, advancing to the outskirts of the house, and later culminating in a synthesis plan, the final plan.
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