The last film in Vidokle's trilogy on Cosmism is a meditation on the museum as the site of resurrection-a central idea for many Cosmist thinkers, scientists and avant-garde artists. Filmed at the State Tretyakov Gallery, the Moscow Zoological Museum, The Lenin Library, and the Museum of Revolution, the film looks at museological and archival techniques of collection, restoration and conservation as a means of the material restoration of life, following an essay penned by Nikolai Federov on this subject in the 1880s. The film follows a cast comprised of present-day followers of Federov, several actors, artists and a Pharaoh Hound that playfully enact a resurrection of a mummy, a close examination of Malevich's Black Square, Rodchenko's spatial constructions, taxidermied animals, artifacts of the Russian Revolution, skeletons, and mannequins in tableau vivant-like scenes, in order to create a contemporary visualization of the poetry implicit in Federov's writings.

She is a healer. A hermit. A Fool-in-God. She is a little over forty years old. She doesn’t disdain alcohol. She can be ridiculous, humiliated, offended. She has long been indifferent about herself. Everybody avoids her and is afraid of her, but secretly at night they all hurry to her home. After all, only she can get rid of their illnesses. For her, this is a damnation, and each time she swears that she won’t help people any more, but each time she is unable to refuse them. She knows that her gift will ruin her some time, but she continues to be the only chance of salvation for people.