The film’s subject is murder; its heroes are seven ordinary men and women who committed such an act. The House of Cain plunges into the people’s images, memories, nightmares and reality, as well as their attempts to escape from the borderline situation in which they live. In his own way, each one of the characters -six prison inmates, their guard and one former prisoner- encircle the irrevocable act, which embodies the absurd and crushes their existence. The prison, the morgue, the museum of criminal exhibits, the courts, the police, the ruins of an old penal colony, prison cells yet to be built, the streets in the city - all constitute the mournful route of the perpetrator, the mournful route of the main characters of this film, but also of the still unknown people, who may, at any given time, equally unexpectedly, find themselves in the same position. The events, the intimate details are absent. The House of Cain is a journey in human decline and the guilt that each person experiences in the way and to the degree that he can. The film is a silent lament, humble and awkward for a lost innocence. Whether that can be regained is open to question. It is an exploration of man’s limits but also of the boundaries of the documentary genre using the acrobatics of the characters and the acrobatics of style. It is the reality of the soul and the senses as the only cinematic reality and record.