One But Many

Trophy hunting has long been a pastime of the wealthy, yet even seasoned conservationists have tried to make the argument that the so-called sport may benefit conservation efforts. Janna Giacoppo’s evocative documentary, One But Many, unmasks such claims as fallacies used to justify the continued killing of wildlife for capitalistic greed.

Merging first-person footage with archival material, the director narrates this chilling tale of the multibillion-dollar trophy-hunting complex. Giacoppo travelled throughout Africa for the documentary, interviewing conservationists and local activists. While it could have easily veered into a white saviour narrative, the film highlights that Africans lived in harmony with wildlife for years until colonialists ordered them to kill what they deemed “vermin”.

Most compelling is the exploration of the key role the United States plays in the proliferation of trophy hunting, and the ensuing loss of African wildlife. We see snaps of the rich and powerful gleefully posing with their “trophies”, including President Trump’s sons, Don Jr and Eric.

At times, the film is a little disjointed. A number of thought-provoking themes are raised, then not developed further. For instance, a comparison is made between the exhilaration experienced by hunters and the crimes committed by serial killers such as Jeffrey Dahmer and the BTK killer. The latter actually responded to a letter the filmmakers sent him in prison, in which he described what made killing so appealing to him; this makes the abandonment of this thread all the more frustrating. Likewise, there are references to the Epstein files, specifically the paedophile financier’s emails in which he professed a love of torture. Again, it would have been engrossing to see such analogies drawn out more, particularly since these vulgar displays by the super-rich are at the foundational basis of Giacoppo’s admirable message.

Such issues aside, the feature is incredibly powerful. Particularly enlightening is its exposé on claims that hunting brings in revenue to support local communities; it, in fact, goes into further funding for trophy hunting. It’s also commendable that Giacoppo narrows down on the US’s role in the destruction of native wildlife at a time when dissenting voices are at increasing risk of censorship.

Thought-provoking and deeply earnest, One But Many allows local conservationists and activists to tell their own stories without succumbing to patronising Western chauvinism. Though a sobering look at the cruelty and avarice of trophy hunting, this is equally a hopeful tale of community defiance.