Bugs

Climate change, the upheavals and socioeconomic inequalities caused by the the world economic powers’ control and excessive exploitation of spaces and bodies in his country, the Democratic Republic of Congo, are David Shongo’s points of departure for this film. Using the photographic archives of Hans Himmelheber (1938-39) and the hunting songs of Léon Verbeek as timeless devices and bearers of testimony, the film questions the psychoepistemology of globalization and its strategic device, technology. Climate change, the upheavals and socioeconomic inequalities caused by the the world economic powers’ control and excessive exploitation of spaces and bodies in his country, the Democratic Republic of Congo, are David Shongo’s points of departure for this film. Using the photographic archives of Hans Himmelheber (1938-39) and the hunting songs of Léon Verbeek as timeless devices and bearers of testimony, the film questions the psychoepistemology of globalization and its strategic device, technology. Climate change, the upheavals and socioeconomic inequalities caused by the the world economic powers’ control and excessive exploitation of spaces and bodies in his country, the Democratic Republic of Congo, are David Shongo’s points of departure for this film. Using the photographic archives of Hans Himmelheber (1938-39) and the hunting songs of Léon Verbeek as timeless devices and bearers of testimony, the film questions the psychoepistemology of globalization and its strategic device, technology. Climate change, the upheavals and socioeconomic inequalities caused by the the world economic powers’ control and excessive exploitation of spaces and bodies in his country, the Democratic Republic of Congo, are David Shongo’s points of departure for this film. Using the photographic archives of Hans Himmelheber (1938-39) and the hunting songs of Léon Verbeek as timeless devices and bearers of testimony, the film questions the psychoepistemology of globalization and its strategic device, technology.