The film was presented at the last Berlinale (NDR)

The courtyard of an apartment abandoned, the carcass of a car, the gray of scrap and rubble that seems to color even the crack of dawn. It will be at the first and the only image of what's out, the camera then enters from the apartment window, in Oum Yazan home (Hiam Abbas) locked together with loved ones to escape and hide from the war. As a matriarchal guide, Oum trying to protect their lives and defend those few, regular flashes of daily life, He scolds the teenage children and pampers smaller ones, It has orders for Delhani chores at home and always makes sure to barricade the door. It also houses two neighbors, Halima and her husband who would rather leave the house and leave Syria with their child. Oum will fail, however, to stem the dangers out of the house and it will be Halima the sacrifice of human dramas that arise when civilians are living the atrocities of war.

Philippe van Leeuw filming this unique domestic space with care and the need to show the true, courageous, stars of war, crosses their home through the crack of the large window curtains, as if they were a curtain that hides the scene, a boundary line where you see what's out and observe what c 'is inside. It makes imperceptible throughout the film except to rest on the first floors of deep eyes and resigned elder-law of Oum. The frastornanti and sudden explosions of bombs and gunfire scare the viewer thanks to 'alternation of wide shots and lighted the house, in frames that reduce the space making it narrow and claustrophobic.

Through the intimacy that you live in their "walls" the film undertakes to identification of conceding a single day of war and confrontation with the choices Oum ago and that a human being would never be forced to do.

Amber Fur