Birches grow on a skyscraper in the centre of the city. Youths throw cookers and fridges out of the 11th floor of a tenement building. There is no traffic on an eight-lane highway. These post-apocalyptic images of a depopulated Detroit, similar to the ones director Florent Tillon uses to open his film, have circulated around the world. Dilapidated art nouveau monuments to American industry attract photographers and desperate scrap collectors. What must life be like in a metropolis that has been transformed from “Motor City” to “Murder Capital,” abandoned by a quarter of its population in the past few decades? A former corporate employee makes his living as a repairman. He fixes anything for people, items that before the crisis just would have been thrown away. A security guard organises people to demolish abandoned buildings that would otherwise become drug dens, and derelict factory halls are turned into garden colonies thanks to the efforts of the unemployed. In Tillon’s film, this big city, a symbol of the collapse of capitalism, becomes an icon representing the search for a new way.