Shortly after the peace breaks out in Bosnia an engineering unit is removing mines from the border between the two sides who until recently, were at war. They find a man walled into a basement, apparently waiting for them.
Bosnia 1995. Seven days after the Dayton Agreement. A small army engineering squad sweeps for mines in the mountains. In a nearby forsaken factory, partially destroyed during the war, they find a walled-in cellar - and in it a man quietly sitting behind a desk, with an ashtray filled with cigarette butts. No food, no water, no light. He looks like has been waiting for them.
The squad brings him back to base, despite his dubious sounding story. He refuses food and drink, continuing to smoke his cigarettes. Returning to the factory, the soldiers find a group of dead people, that they’re sure weren’t there before. Ambushed, they take a captive and bring him too back to camp. When he sees the man from the cellar he tells the squad they have released the devil himself.
Powerful cinematography makes full use of the bleak but beautiful open landscapes and decrepit buildings, alternating the loneliness and claustrophobia of the squad’s predicament. Surrounded by minefields, and increasingly strange events, the squad’s uncertainty about their strange guest takes them closer and closer to the edge.
Bosnia, 1995, the seventh day of peace: an engineering unit is removing mines from the border between the two sides who until recently, were at war. Each of the soldiers is burdened by experiences from the frontline; each is facing his fears in his own way. Some are prone to self-destruction while others are happy to be alive. Some are catatonic due to trauma; others take refuge in prayer...
