This chapter analyses Salomé Lamas’s Extinction (2018) as a provocative exploration of nostalgia, memory, and contested identity within the shifting landscapes of post-Soviet Europe. Centred on a protagonist who traverses disputed border zones, the film blurs the lines between documentary and fiction, history and imagination, to evoke the persistence of ideological ghosts in the present. Extinction stages nostalgia not as a longing for a stable homeland but as a confrontation with the ruins of political projects and the instability of belonging in contested territories. The chapter highlights how Lamas’s hybrid cinematic form—combining interviews, staged performances, and observational footage— interrogates the reliability of historical narratives while foregrounding the emotional resonances of displacement. By situating Extinction within broader debates on collective memory and post-communist cinema, the analysis demonstrates how the film questions the very possibility of home in a Europe marked by fragmentation and shifting borders. In doing so, it reveals nostalgia as both a critical lens and a destabilising force, illuminating the complex affective terrain of identity and place in contemporary European cinema.