Few recent examples of opening narration have laid out so foreboding a mission statement for the film that follows as that which starts Tunisian drama Harka. Over various establishing shots, a young woman’s voice tells a tale passed on to her by her brother. Way out in the desert, a lake apparently appeared out of nowhere one morning. Producing crystal clear water, its seemingly perfect qualities attracted visitors from far away just to see or swim in it. No one questioned the apparent miracle, as the locals, we’re told, believe in the possibility of magic.

The stage is set for a story with a possible bent of magical realism. But the narrator quickly dispels that notion. Months on from the miracle spot’s beginnings as a tourist attraction, someone learned it was in fact a sinkhole filled up with run-off from a nearby phosphate mine. Despite this revelation, people still came; still swam. But then the water turned black, finally making people understand the full extent to which they were wallowing in poison. Cut to opening credits…

Full review for Little White Lies