To its aficionados, the annual Eurovision Song Contest is a marvellous melange that blends pop and politics, fashion faux pas and flag-waving. To everyone else, it's a showcase for shite.

Polarising it may be, but Eurovision has no shortage of performers beating a path to its tinsel-decked door. And although only ABBA and Celine Dion have achieved post-Eurovision mega-stardom, nearly every entrant sees the contest as a springboard to the stratosphere.

For most, barely have their feet left that springboard than they find themselves plummeting, belly-first towards the sea of oblivion. As Europe delivers its verdict, dreams of greatness are quietly snuffed out. But for an unlucky few, each set of results painfully and publicly signals that they’ll be ending the contest as they began: with no points. Rejected and dejected, they can only limp home to rebuild the wreckage of their career and hope that the worst night of their lives will soon be forgotten.

Fat chance. Not with Tim Moore shining his gazillion watt spotlight on their misfortunes. In Nul Points, Moore sets out to uncover the underachievers who went to Eurovision with the highest of hopes and returned with the lowest of scores.

Since 1975, the Eurovision voting system has made it harder to score zero. But it didn’t take long for Jahn Teigen to make it look easy. Representing Norway in 1978, Teigen assaulted an unsuspecting song and strangled it with his vocal cords before dealing the fatal blow from a shocking, splay-legged leap. Europe’s response was sadly predictable.

But, as Moore finds when he visits Teigen in Oslo, the reaction in his homeland was rather different. Norway put out the red carpet for its zero hero, and he went on to enjoy if not public adulation then certainly the affection of a loyal fan base. After a rough patch in the eighties, Teigen is still performing and still submitting entries for Eurovision.

But while Jahn Teigen merrily wears his zero as a halo, others see their nil as a noose. After Finn Kalvik failed to score for Norway in 1981, his countrymen, perhaps thinking the joke had been stretched to its outer limits, sent his career into meltdown. But worse was to come.

Targeted by Norwegian satirists, Kalvik was subjected to ridicule every week on national television. His response -- part Heather Mills, part Howard Hughes -- only exasperated the situation, driving him to the brink of suicide. Moore’s encounter with Kalvik on a sun-kissed beach in Thailand suggests the Norwegian is still running to escape his past.

At this point what Moore might have intended as a jolly jaunt through la-la-la land becomes something more of an exploration of the human psyche. Realising that he’s confronting human beings with their own failings, he abandons the idea of inviting them to reprise their losing songs. There’s only so much knife-turning a wound can take.