In 1999, Bratko Bibič and his colleagues began editing, recycling, adapting ... archived silent and sound, completely ignored contributions of Slovenian and other filmmakers to the history of local mentalities. He decided to immerse himself in the cinematographic tradition of Slovenes from 1905 onwards, starting at the source of world film history: composing and performing live music at screenings of the first and second part of the music and film project under the auspices of Bridko Bebič's Traveling Cinema. The title of the project In the Family Garden is based on the archival title of one of the first three films made in Slovenia and has the character of 'work in process'. Individual parts of this project divide the history of the film on the one hand, and the film on history and topicality into three major time periods on the other: part 1 from 1905 to 1941, with an emphasis on the 1930s; Part 2 from 1945 to the early 1960s, but with a focus on the late 1940s and early 1950s, Part 3 from the early 1960s onwards, with a focus on the 1970s and 1980s. In 2005, all the works are combined into an integral version of the project, which is dedicated to the 100th anniversary of Slovenian film.

In the second part of the In the Family Garden (2002-2004) both documentary and fictional archival excerpts act as equivalent fragments, in which it is difficult to distinguish their documentary and fictional value. In the period immediately after the end of the WWII, moving images were also supposed to ensure the family garden's imaginary survival. But we expect the author-viewer in vain to compile ideologically innocent film images. With the dramaturgically conditioned counterpointing of images with original music intertwined with a modified film soundstage, In the Family Garden implies above all the inability of film images of the post-war period to be aware of what they can tell at the time of their creation. "And as the author-viewer puts in the role of equal moments of Slovenian history at that time, the images in this way also show us why the struggle for its interpretation is still not over and why it cannot actually end. (Source: DVD booklet In the Family Garden 1-3)