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Maja Bajevic is filmed in a green field, a nowhere field, while describing her apartment in Sarajevo in which her grandparents and after them she, herself, lived before the war in ex-Yugoslavia. At the end of the war strangers occupied the apartment. The attempts to get the apartment back have remained unfruitful up to now, even though “official laws” exist for the restitution of the occupied apartments in Sarajevo. Maja Bajevic hasn’t been in her apartment for more than 10 years, but in her filmed description she tries to remember it in great detail, and she moves in the field as she would walk in it: she goes from one room to the other, describing it and telling anecdotes. The attempt to rebuild mentally this space is laborious, and to orientate herself in this field is difficult. We get the feeling, through the intensity and precision of this description, that home inhabits us as much as we inhabit it. Following the film’s description, its mental map, Emanuel Licha draws a plan of this apartment that he’s never seen.

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 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

Green, Green Grass of Home

Maja Bajevic is filmed in a green field, a nowhere field, while describing her apartment in Sarajevo in which her grandparents and after them she, herself, lived before the war in ex-Yugoslavia. At the end of the war strangers occupied the apartment. The attempts to get the apartment back have remained unfruitful up to now, even though “official laws” exist for the restitution of the occupied apartments in Sarajevo. Maja Bajevic hasn’t been in her apartment for more than 10 years, but in her filmed description she tries to remember it in great detail, and she moves in the field as she would walk in it: she goes from one room to the other, describing it and telling anecdotes. The attempt to rebuild mentally this space is laborious, and to orientate herself in this field is difficult. We get the feeling, through the intensity and precision of this description, that home inhabits us as much as we inhabit it. Following the film’s description, its mental map, Emanuel Licha draws a plan of this apartment that he’s never seen.

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

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