You wouldn’t know a production with lofty international goals was taking place by the look of things. The catering consisted of a folding table and some Domino’s pizza boxes. The primary camera was an aging standard def digital camcorder. A wheelchair was being used as a dolly. There were no lights set up, no technicians running cables. The director’s mother was one of the dozen or so extras.
But the modest production values didn’t seem to limit the imagination of the producers, most of whom emigrated to the DC area from various parts of Africa. They are on a quest — perhaps a bit quixotic, but a quest nonetheless — to have their catchy dance song, “Twenty Ten In Africa,” played at the World Cup (listen to it here).