Description: The film opens with a narrator announcing the exhibition, then cuts to various craft demonstrations inside the building. A man explains how to make wool from sheep’s fleece, while a woman works beside him with a brush. Another woman is shown spinning wool at a wheel, with the camera zooming in closely on her hands.

Throughout the footage, interviews and narration are interwoven with observational shots. The camera operator reflects on the role and advantages of community media. A sequence shows a man cutting paper as audio plays from an interview with a visitor expressing enjoyment of the exhibition. A folk song plays over visuals of people reading, making placards, and engaging with handmade works. One man interviews a jewellery-maker about his work and stall, followed by a series of close-up shots of nature drawings, including dinosaurs and cottages.

Jay, the director of Creative Artists Liberated, is interviewed while reading a newspaper. He explains the ethos of the organisation as an agency for marginalised creative talent and describes the function of the Polytantric Centre. Cutaways show the building’s exterior — 60 and 60A Maldon Road — highlighting the free shop, the cellar entrances, and the offices of Creative Artists Liberated.

Footage also captures moments outside the formal exhibition: local boys are seen play-fighting in the street; a baby sucking its thumb appears during a voiceover discussing the benefits of showing dispersed community artists together. Audio interviews about the impact of community video accompany views of craft stalls, the exhibition interior, and the surrounding area.

In one street interview, a white man with glasses and a scarf says he is waiting for “a lady from Square Rib” to take pictures of a council-damaged house. A montage follows, set to the 1968 pop song “Lazy Sunday” by Small Faces, showing signage for the exhibition, residents, exteriors of the squat, and everyday scenes inside. Inside the kitchen, a bearded man describes future plans for the room, despite current disrepair — including holes in the floorboards and rubbish — and proudly shows a functioning toilet.

A narrator gives a definition of the squatters’ movement while the camera captures two squatters in conversation. Guitar music underscores a montage of the surrounding area. Later interviews include an older man reflecting on the exhibition and a long-haired young squatter buying a magazine. A woman walks away from the camera mid-interview attempt, while local children speak on camera and a young girl giggles.

In the final scenes, Hoppy is seen reorganising playback cables in front of a TV. A 1960s pop track plays over a concluding montage of exhibition-goers, women at typewriters, children walking through the squat, people browsing market stalls, and members of the public passing the building.