The starting project of the film was structured thanks to the studies and research I carried out at the Dams cinema faculty in Bologna. My studies on the setting in the film and the diegetic components can be active in the film as a real protagonist. The research also led me to contemplate the place of physical and existential dwelling, the house in particular, in Gaston Bachelard's conception of poetics of space, assumes a strategic importance with regard to what the philosopher himself defines as a process of localization of memories. Franco La Cecla's reflection on the symbolic and untranslatable meaning of the typically Italian way of saying "making a local mind" can also be connected to this thought: a sort of need for domestic shelter, as well as the location of thought. The sense of place, in fact, derives not only from the daily practices that organize our spaces, but also from the memory that lodges there, from a sort of projection of thought, the house (or rather dwelling) as a refuge, as the first living space, almost a continuation of the uterus, as a necessary place of protection not only for memories, but also for the very possibility of thinking. From this concept derives an analogy between interior and interiority. And the threshold, therefore, becomes the boundary between interiority and exteriority. The "living space" of the house is inextricably linked to the soul and human memory, thus influencing the genesis of the individual. Cinema testifies to the attempt to give voice, or rather, body to this so intangible theme. The attractive element, if we think of the place of residence in film production in this sense, is little linked to its profilmic representation or to domestic-family dynamics seen as a functional place for the filmic discourse and its narration, which has an undeniable structural value from do not underestimate. The house in cinematographic language can also take on an interior, spiritual value interconnected with those who live in that place. This type of research and discoveries, thanks to the fundamental help of Dr. Sara Iommi and Prof. Loretta Guerrini Verga of the Dams film analysis course, gave me the stimulus to create my first short film "DOM" in an attempt to convey these structural themes on film. The film is also dedicated to the memory of Sara Iommi who died prematurely at the age of 33 in a tragic accident in 2016.