In 2005, through a strange set of circumstances, I ended up as an invited guest to the Angers Film Festival in Angers, France. That year’s Grand Prix du Jury was awarded to Le Cauchemar de Darwin (Darwin’s Nightmare), a film by Hupert Sauper that I initially thought was a polemical fake documentary about a set of interlocking horror stories set on the banks of Lake Victoria in Tanzania, each unleashed by globalization. This confusion was attributable in some measure to my poor French, but the larger issue was that I simply couldn’t bring myself to consider that what I was seeing on the screen had actually taken place.
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