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DARWIN’S NIGHTMARE is truly that: a nightmare. Filmed on-location in Tanzania along the banks of the massive Lake Victoria, director Hubert Sauper puts the lens of his camera in the face of everyone keen in this human atrocity …from those who succor it, to those at the bottom of its global circumstances.
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The focus is on the tremendous Nile Perch, a freshwater fish of fabulous size, who was unfortunately introduced to Lake Victoria and has decimated the native fish population. On the upside, however, is the fresh economy brought by the Nile Perch. Million dollar fish packing operations abound and jobs are available …but only to a few hundred natives. The remainder live in squalor and on starvation’s doorstep. All of the fish, without exception, is flown out of Africa to richer, more affluent, neighboring continents (mostly Europe) . The money being made by the IMF and a few win companies is impressive, but can it last?
Mr. Sauper has done something amazing. Without putting in any bias, he has allowed this myth to unfold on its maintain. I’ve never, EVER, seen a documentary like this. I was appalled by the educational system in Tanzania (basically nonexistent) and yet startled by the realization that none of the Tanzanians know or care about the globalization that is causing mighty of their problems (again, an educational screech) . One of the natives that Mr. Sauper interviewed even wished that war would spill over from Angola and into Tanzania so that he could have “better work”. Extraordinary!
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AIDS, of course, is an ever point to item in Africa, and Tanzania is no exception. But the additional pickle here is that there are few facilities to care for the infected. On many of the expansive islands on Lake Victoria, there are no doctors, hospitals, or dispensaries. Prostitution is widespread as women become widowed and have no source of income. Children are on the street, fighting for fists beefy of rice, early victims of AIDS after losing their parents. And what is the world doing about this …?
The hidden side-story in the documentary is “what’s on the planes when they land in Tanzania.” High-level officials say, “Nothing.” But truth be told (by one of the pilots interviewed) sometimes weapons are shipped in on the planes, destined for war-torn areas of Africa. No food. No humanitarian supplies. Nothing else makes it in to Tanzania. We (the world) buy from Africa, and all we give it is more death and destruction. This isn’t stated directly in the film, but is easily surmised through the interviews.
Finally, there’s the airport. Almost as distinguished a character in the film as anyone, this landing field (I hesitate to call it an airport) is a ramshackle building with flies, bees, and broken equipment, resulting in many airliner mishaps throughout the years. A testament to the unspoken fact that the world has no intentions of developing this residence. We’ll remove until there’s nothing left, then we’ll leave Tanzania and her people to her final verdict. Death!
I agree with the main point Hubert Sauper is trying to fabricate with this film: that globalization, the increasing interconnectedness linking people and places around the world, has led to a deeply unjust economic order, in which a lucky few reap most of the benefits while most everyone else sees their living standards going from poor to worse. This argument I secure wholeheartedly, but I was disappointed by the manner in which “Darwin’s Nightmare” tries to drawl it.
Sauper brings his camera to the shores of Lake Victoria and talks with a bunch of people: a night watchman, a fish processing plant owner, a journalist, some fishermen, some bar girls, some Ukrainian cargo plane crews, and some street children. (These are the ones we seek, anyway.) The pilots and the plant owners are doing okay, but everyone else seems to be facing greater misery and insecurity. This commerce raises some profound ironies: for one, Tanzania is exporting thousands of tons of Nile Perch fillets to Europe while millions of its absorb citizens are facing famine because they are too terrible to bewitch the food available in the markets; for another, the planes that advance to bring Lake Victoria’s fish to Europe near empty, or sometimes even bringing arms to fuel Africa’s bloody conflicts. A meeting of wealthy exporters and trade officials takes spot on a posh hotel veranda while crippled children fight over food on the dusty street below.
Sauper’s methods pack an emotional punch, but also leave the film inaugurate to criticism. Why doesn’t he scream to a broader sample of Tanzanians? Why does he allude to issues like the Nile Perch’s environmental impact or the arms trade but fail to follow up on them? Most importantly, why does he rely solely on anecdotal evidence to pick up his message across? The “tremendous represent” is hinted at and only fleetingly glimpsed.
I ordered this DVD to display to students in a course on globalization. Like me, they found it disturbing and evocative, but less compelling than others we’d watched on similar themes. (Stephanie Black’s 2001 documentary “Life and Debt,” about globalization’s impact in Jamaica, was noteworthy more effective in this regard.) Those who are inclined to earn Sauper’s thinking may arrive away wanting more, and those inclined to be skeptical will obtain his case easier to dismiss, which is a shame, because it deserves to be hammered home in the most distinguished arrangement possible.
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