Halfway between a documentary and an artistic installation, Heimat, starting from the creative fragmentation of the Last Letters from Stalingrad, a collection of letters written in December 1942 by German soldiers besieged in the Stalingrad sack, is a sensorial and universal investigation of that very mysterious object that is the memory of Home: a mysterious, elusive object, always on the verge of fading. In Heimat, the paste of old family films, brushstrokes of color and chemical residues of decomposing film coexist. A reality that becomes oneiric, almost hallucinatory.