When Michael Moore's controversial documentary, Fahrenheit 9/11 won the Cannes Palme d'Or in 2004, it was also awarded with the longest standing ovation (20 minutes) in the festival's history. The documentary is a passionate tirade against George Bush and his administration: the first half of the movie accuses the president of misleading the public into an unjustifiable war (there were no weapons of mass destruction in Iraq; the 9/11 terrorist attacks were used as an excuse by the Bush-Dynasty to sanctify private oil interests). The second half of the movie interviews families of American soldiers and depicts a political machine that has manufactured more fear and terrorism in America as a means to rally pro-war support.

(For info about Moore's new documentary, Sicko, see here and for AMC's video interview with Moore see here.)

Not surprisingly, this incendiary film polarized the public. Its supporters have rapturously praised and rewarded Moore's vision: it was the first political documentary to win the top-prize at Cannes (the only other documentary to have won the Palme d'Or was Jacques Cousteau's The Silent World in 1956). It also won several other prestigious film awards, including the Peoples' Choice Award for Favorite Motion Picture. On the first day of its release, Fahrenheit 9/11 sold a record-breaking two million copies and continued to sell; it is currently the highest grossing American documentary of all time. Yet, Moore's success spawned an equally vehement anti-Fahenheit 9/11 campaign. Websites such as mooreexposed.com, moorewatch.com , and moorelies.com were as determined in dethroning Moore as Moore was in his desire to oust Bush from the White House. That same year, two directors attempted to fight fire with fire: Ron Silver released Fahrenhype 9/11, and Michael Wilson put out Michael Moore Hates America. Perhaps unconvincing retaliations, both movies received little critical or public acknowledgement. Whether Fahrenheit 9/11 represents the height or hype of Cannes, its massive success is the documentary genre's coup d'etat of the decade.