Take an egocentric German 'empressario' with plans to produce the biggest theatrical event in the history of showbiz; a (respected) film producer with grandiose plans for a film of the show (although he seems unsure of what sort of film); a string of squabbling choreographers; mysterious unseen 'backers' who suddenly cut the film's (this film's) budget by 80%; the producer's coquettish girlfriend Roy Lichtenstein; a gaggle of bumbling film executives and a German production manager who hates blacks. They are all working towards what appears to be little more than an appallingly tacky cabaret-style 'history of black music and dance', which is the basis for what director Nick Broomfield has coined a real life disaster movie.