For two years, Dutch artist Renzo Martens traveled around Congo, from the capital of Kinshasa to deep into the interior. Employing a casual film style, camera in hand, he roves through the poverty-fighting industry in the post-civil war country and regularly appears onscreen himself. He films UN peacekeepers in their SUV's supporting an international company to exploit a gold; corpses of gold-digging rebels, surrounded by Western photographers, white relief workers happily photographing the recipients of their emergency aid, with their logo on every canvas tent they hand out; a large landowner at a photo exhibition looking at pictures of his day labourers, who don't even earn enough to feed their children. It all amounts to one conclusion: poverty is there to stay, and 'fighting it' is an industry of which the poor benefit very little. Martens then launches a self styled emancipation programme: he teaches the Congolese poor that 'images of poverty' are their countries most lucrative natural resources. Under Martens' guidance, local photographers start photographing malnourished children instead of wedding parties. He mounts a neon sign in the middle of the forest that reads "Enjoy Poverty", so that the poor too could reap its financial fruits. The local populations dance frenetically, but in the end, adversities rise all over again.