“Recently, the government wall project has included a section that separates two West Bank villages, Batir and Walaja, from their cultivable land. The wall passes between the houses and the land, creating a vast scar across the landscape, blocking access to the villages and destroying the whole system of irrigation used for over hundreds of years, if not longer…The stonecutter in my 1980 film House comes from Walaja. I decided to return to West Jerusalem, to the house that was the subject of my film twenty five years ago, and again in 1988’s A House in Jerusalem.” Amos Gitai In this last film in a trilogy spanning over three decades, the microcosm that was presented in House is expanded as Gitai follows the different diasporas that are connected to the Jerusalem house. This multiple perspective works like an intriguing collage, forming a fascinating picture of people, nations and histories more deeply inter-connected than one might expect, through the intimate place that is home.