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. Preuzmimo Benčić, is akin to 20th century forms of radical theatre, such as Bertolt Brecht’s Lehrstücke or techniques within Augusto Boal’s Theatre of the Oppressed. In both forms, there is no division between the actors and the audience and play-acting is employed as an instructive process. Thauberger sees the explorations of the relations between work, art and play as the fundament of this project, and her experience of working with children as mutual empowerment process that invokes imagination, wonder and empathy.
