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Cannes Film Festival.

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Publication: Take One
Publication Date: 01-SEP-04
Delivery: Immediate Online Access
Author: McSorley, Tom

Article Excerpt
IT IS AXIOMATIC--BANAL, EVEN, FOR A Canadian--to observe that America is unavoidable. It's here. It's there. It's everywhere. Its cinematic reach to the Mediterranean shores of southern France has always been considerable. More recently, however, its geopolitical agendas have also imposed themselves on the plush, privileged screening rooms of the world's largest film festival. At Cannes 2003, for example, we had the unmistakable American presence of its faraway-so-close assault on Iraq. That military action permeated the mood and the substance of critical debates along La Croisette. In 2004, we witnessed the ascension to Palme d'Or lore of Fahrenheit 9/11, a noisy and welcome cinematic mea culpa about America and its foreign policy by the pre-eminent American shit-disturber, loudmouth or vulgar populist (take your pick), Michael Moore. The obstreperous combination of Moore's voice and that of jury president Quentin...

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