n cinema, as in everyday life, the home is imagined to have distinct spatio-temporal qualities which distinguish it from its spatial surrounds. By paying close attention to the qualities which cinema confers upon the home, we may learn something of what is at stake in our desire for spatial belonging. In this paper, the tension between our emotional commitment to the home-space and the necessary repressions which such commitment entails is explored through detailed analysis of the 2008 French film Home (Ursula Meier) . As suggested by its title, this film brings to an explicit level the narrative and visual investment in the home-space which remains implicit within most narrative cinema. By reading the film through the spatial theories of Marc Auge and Doreen Massey, as well as through the generic prism of melodrama, this paper will seek to situate the home within the spatio-temporal categories which collectively constitute our globalised postmodern culture.