Prostor v tej galaksiji

A film director suddenly dies during the preparatory stages of a documentary titled "Prostor v tej galaksiji" (A Place in This Galaxy). The film should have closely explored the ever tangled relations of personal memory and images – photographs, filmed sequences – through a reflection on their alleged documentary objectivity, doubting the very character of the testimonies whereupon one bases the sharing of a plural, collective memory. A woman-friend of the deceased film director – she herself a documentarist – decides to finish the incomplete project, starting out from the materials found in the flat where he lived; a bunch of pages of a fragmentary, incomplete screen-play, a heap of untidy, hardly readable notes, filmed sequences and photographs emerging from wardrobes and drawers, just a few, already shot, inscrutable and apparently disconnected scenes, literary quotations, personal recollections, loose thoughts and queries striking one during the idle time of one's waits. "Prostor v tej galaksiji" (A Place in This Galaxy) it was a matter of fitting one's own tiny footprints inside those of a few giants – Jean-Luc Godard, Chris Marker, but even James Joyce – while being quite aware of covering a span, or stretch, that, from one's heel, does not even reach the tip of a single footprint of theirs. Just as in architecture, it was necessary to get a house (a film) to stand by employing some building materials that are actually always the same; in the case of vernacular architecture, then, we have the ones you find on the spot: stone, wood, clay... (family filmed sequences, photo albums, the contents of one's own drawers ...). Yet, in the end, every building turns out different and this is what really matters.