By Glenn Dunks

White faces invading Cuba is one of reoccurring images in Hubert Sauper’s Epicentro. And this includes the director himself. It is surely not lost on him that in examining the country’s place as “the epicentre of the three dystopian chapters of history” he at least somewhat places himself among the throngs of white, stickybeak tourists who get their ethnic cultural kicks by swarming barbershops to photograph young black boys getting haircuts before retreating to their glamorous five-star hotels.

But this is what the Austrian filmmaker does, embedding himself within a place that has become a wrestling point of contention for lands beyond its borders...