Jessica Anthony’s slim and perverse political satire “Enter the Aardvark” begins with the creation of Earth. The first scene traces a “whirling mass of vapors” as it becomes sediment and ocean, where flagellates and plankton evolve to grow tails and mouths and fins. As they scoot toward the edge of the water, the author describes the emergence of the first land creature: “Here begins the Great Creep.” She then quantum-leaps to a power outage in Virginia circa 2020, and a closeted young Republican congressman on the verge of a career-endangering high-stakes romp.
Though evolution may be somewhat overused as a film trope, here the gambit reads as free, ambitious and thematically crucial. In the tradition of the best existential farces, “Enter the Aardvark” keeps returning to