As the camera pans across areas of uninhabited play- grounds, a little girl’s voice narrates how times have changed and how she longs for a return to moments from the past. The filmed scenes are playgrounds that were built in post-war Berlin, designed to encourage imagination and coexistence in public space. No Room To Play is not a post-apocalyptic fiction, but rather a pre-apocalyptic admonition about environ- mental and urban decline. No human being is present in this play space—their only perceptible traces are the footprints in the sand and the graffiti on the walls. The scenes are presented through colored filters, which change like the seasons according to the plot

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