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He breaks the choppy native dialogue with a single word in English: “Action!” When one snorts, growls and stomps a few times, Nabwana decides they’re ready to start chewing on the animal’s intestines and large swatches of its flesh. He reminds them it’s their first taste of sweet mzungu meat.
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Off to the side, Isaac Nabwana stands directing the cannibals in his native Luganda. Details matter.Īs the cannibals gather around the table, the white man twitches, trying to remain still. Two of the men spent days boiling down dead dogs they’d found by the roadside and stringing the most human-looking remains into necklaces, maintaining the slanted symmetry that was so popular during the Upper Paleolithic period. The bones around their necks look remarkably like those of a child, but in fact they are from canines.
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The men surrounding the mzungu are costumed in tribal garb and bone jewelry to look like cannibals. Now he is lying inside a mutilated mammal in a red-dirt ghetto where bathe in buckets and learn to enjoy the parasites picked up from a chicken-or a goat.
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In that pursuit, the mzungu volunteered at film festivals, worked as a production assistant on a TV show and lived out of his car. His mind travels back to his Franciscan Catholic schooling in South Huntington, New York, when he first vowed to give himself over to a higher good-to cinema and to art. Carcass in tow, he climbs atop a table lined with palm leaves and closes his eyes. Braids of goat blood wrap the white man’s body like straps.