Some years ago the Swedish government decided that non-commercial 16 mm, 9,5 mm and 8 mm films, including amateur films, should be filed and accessible for scholars. In 2003 a special film archive was established in the small town of Grängesberg. Hundreds of private film collections have been donated since, and in 2005 I had the opportunity to analyze some of them (published in 2006 in Swedish with Mats Jönsson,Självbilder: Filmer från Västmanland, Stockholm: Svenska Filminstitutet). One major problem with analyzing private film collections is that they usually lack written documentation, that is, textual analysis must include guessing in terms of who is who and why people behave in certain ways (even if the lack of detailed information about a specific collection does not prevent overall, culturally determined inferences like the fact that all of the collections are focused on versions of ‘the sunny side of life’ rather than everyday life). So, last summer I interviewed some of the donators of the collections I had previously studied in order to get some complementary information. In this paper I re-analyze the film collections, focusing on the discrepancy between how I conceived them before and after the interviews and using theories of “place” – for example French historian Pierre Nora’s theory about milieux de memoire and lieux de memoire – as a framework. The presentation will include moving images from the collections.