The article deals with the relationship between trauma and artistic representa-tion, particularly cinematographic. The absence of a fictional cinematographic im-agination that re-elaborates, through the fictional setting, a historical tragedy is here interpreted as a symptom of a collective trauma that has not found yet a form of narration. The author analyzes, as a case study, Srebrenica and the memory of what happened there during the war in Bosnia Herzegovina (1992-1995). She investigates the lack of a cinematographic imagination on Srebrenica, starting from the only fiction film that, setting the story elsewhere, is considered as a testimony of the traumatic aftermath.
Keywords: Film, trauma, Srebrenica, former Yugoslavia, memory, war.