[15] Thauberger initiated the film as a framework for continuing a critical and generative dialogue about the multiple values of the factory, the restructuring of Rijeka's political economy, and the paradigms of cultural industries.
She worked with sixty-seven local children performers who are divided into the roles of “artists” or former workers who have been permitted to temporarily re-occupy the complex, and “mayors” who discuss their own plans for its regeneration.
By using children as her cast, Thauberger is able to conjure an inviting illusion of play whilst still encouraging scrutiny of the larger issues underlying the project and the potential socioeconomic failures related to creative regeneration.
The forty-seven minute film centres on the staging of the decommissioned waterworks and laundry facilities of Bohnice, another post-revolutionary institution and the largest psychiatric clinic in the Czech Republic.
As Thauberger brings various threads together—particularly as she includes hospital staff and residents in the work—she inserts a raw humanism into her deep-time inquiry of mental illness, pointedly linking Marat's revolutionary apprehension to growing contemporary cynicism about institutions.