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In ‘Fahrenheit 11/9,’ Michael Moore crafts an incendiary argument

In his new documentary, “Fahrenheit 11/9,” auteur and provocateur Michael Moore tackles the Trump age. Moore calls this film a sequel to his Palme d’Or winning “Fahrenheit 9/11,” which harshly criticized the Bush administration’s policies in Iraq. Shortly after “Fahrenheit 9/11” was released, the actor Sean Penn referred to Moore as “the Bobby Knight of…

Cannes closes with “The Salt of the Earth” and “Maps to the Stars”

After nine blissful days in the French Riviera and about 24 films, I finished up my Cannes Film Festival experience exhausted and ready to come back to California. The festival wrapped last weekend, with an awards ceremony doling out prizes for the best films, performances, directing and screenwriting. Despite its relatively small selection of films— the festival plays host to about 60 films throughout all of its sections, compared to the 300+ films at the Toronto International Film Festival— there was still a wide variety of films and styles from around the world, although few that I fell truly, madly, deeply in love with. Although the ones I liked best didn’t win the top awards, which rarely seem to go to the best films anyway (“Fahrenheit 9/11” once won the Palme d’Or, after all), none of them went home completely empty-handed. Here’s a look at some of the best films and performances I saw at the festival.

Naomi Kawase’s “Still the Water” is forced poetry

Last week at the press conference, the President of the Jury for the Official Competition, Jane Campion— the only woman to have won the Palme d’Or, the festival’s most prestigious prize— made comments about how the film industry is very much still a boy’s club. In fact, last year’s competition featured no female directors and this year’s features only two, so it’s no surprise that there’s been much hubbub about how Naomi Kawase’s “Still the Water” could be a frontrunner for the Palme. It certainly is the sort of film that tends to get rewarded at Cannes. It feels to me like it’s trying almost too hard at times— it is pointedly aimed at being poetic in addition to tenderly made and beautifully shot. Critiques aside, its success would mean another landmark win for a woman.