Hacking at Leaves

In a yellow radiation suit, Grenzfurthner sits in a retro control room he calls his 'flat' and debates whether to make a documentary about a makerspace in Durango, Colorado. He worries the subject could be too depressing and wonders if it can be sold to Netflix. This opening sequence frames the film as a blend of fiction and documentary, with the host debating his own project.

The film introduces the Powerhouse Science Center makerspace in Durango and its pivotal role in producing medical equipment for the Navajo Nation during the COVID-19 pandemic. Grenzfurthner examines how community tech and DIY efforts can contribute to public health and resilience. This sets the real-world stakes for the documentary's planned story.

Uncle Sam appears, demanding that Grenzfurthner craft an 'invigorating tale' about the 'spirit of freedom' and the beauty of the American Southwest. He pushes for a strong nationalist narrative that counters collapse, pressing the host to produce a 'true American story.' This intervention shifts the film’s tone and purpose.

Reluctantly, Grenzfurthner agrees to proceed, but he frames his project as a critique meant to reveal the downsides of the 'American story' and colonial history. He intends to educate audiences rather than simply entertain them. The decision marks a turning point in the documentary's intent.

As filming begins, he navigates the complexities by incorporating voices from activists, artists, and tech enthusiasts. The film becomes a mosaic of perspectives rather than a single-author narrative. These diverse viewpoints anchor the project in lived experiences.

The narrative threads together the Navajo community, hacker culture, and the DIY movement, suggesting that grassroots networks can drive societal transformation. Grenzfurthner highlights collaborations and the exchange of knowledge across communities. The piece implies that cooperation across different groups can reshape mainstream culture.

The film proposes alternative approaches—maker spaces and community tech—as potential catalysts for resilience in the face of systemic collapse. It argues that non-traditional paths can supplement or challenge official narratives. This positions DIY practice as a political act.

In Profil, Grenzfurthner discusses the importance of the Overton window when addressing his documentary's contents. The article signals how the film negotiates what is considered acceptable discourse. This meta-commentary frames the film’s strategy for audiences.

The 'true American story' concept is reframed as a critical examination rather than a celebration of national myths. The film uses this tension to challenge colonial narratives. It becomes a core engine for the documentary's argument.

Grenzfurthner emphasizes that communities—not individuals—drive change, presenting the Navajo Nation, hackerspaces, and DIY culture as interconnected networks. The narrative argues that collective storytelling can reshape the national conversation. The piece foregrounds solidarity and shared practice.

The film is a hybrid, mixing documentary and fiction to convey complex truths about optimism, freedom, pandemics, and societal collapse. Grenzfurthner uses performative elements to invite reflection beyond traditional documentary speech. The approach underscores the film’s experimental nature.

The story leaves audiences contemplating pandemics, settler colonialism, and possible transformations through community action. Grenzfurthner closes with a call to consider alternative futures and the power of grassroots collaboration. The ending reframes hope as a practice rooted in collective effort.