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In the fuss over Michael Moore's new film, few critics considered its technical innovations, or the impact on Miramax - the premier provider of middlebrow cinema

By Mark Cousins   July 2004

For the first time in a decade or more, the frenzy caused when 5,000 film and showbiz journalists gathered in Cannes this May had some substance to it. Usually the big story is that Madonna wore a basque to a screening or that Lars von Trier fell out with Bj?rk. But in 2004, unathletic critics were sprinting up the steps of the Palais du Festival to see a serious documentary with no stars in it.

Michael Moore’s Fahrenheit 9/11 has already stacked up the column inches. His apparent hubris has been dissected, but his new work’s innovations as a film,…

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