Kendall Jenner
Aishwarya Rai Bachchan
Marion Cotillard
Riley Keough
Sasha Lane
Jim Jarmusch
Ruth Negga
Ana de Armas
Flora Coquerel, Miss France 2014
Geena Davis
Susan Sarandon and Geena Davis
Thelma and Louise
Thelma and Louise revisited
Red carpet shots from The
Hollywood Reporter:
http://www.hollywoodreporter.com/gallery/cannes-2016-photos-red-carpet-892898/1-blake-lively
http://www.hollywoodreporter.com/gallery/cannes-2016-photos-red-carpet-892898/1-blake-lively
A collection of pieces from The Hollywood Reporter:
http://www.hollywoodreporter.com/package/cannes-style
http://www.hollywoodreporter.com/package/cannes-style
more from PopSugar
here:
http://www.popsugar.com/fashion/Cannes-Film-Festival-Style-2016-41269799#photo-41269799
http://www.popsugar.com/fashion/Cannes-Film-Festival-Style-2016-41269799#photo-41269799
still more here:
http://www.popsugar.com/fashion/Best-Style-Moments-Cannes-2016-41278473#photo-41278473
http://www.popsugar.com/fashion/Best-Style-Moments-Cannes-2016-41278473#photo-41278473
a look back to Cannes in years gone by:
http://www.popsugar.com/celebrity/Best-Old-Pictures-From-Cannes-Film-Festival-37467077#photo-37467077
http://www.popsugar.com/celebrity/Best-Old-Pictures-From-Cannes-Film-Festival-37467077#photo-37467077
Cannes photos from Glamour:
http://www.glamour.com/gallery/every-gorgeous-dress-from-the-cannes-film-festival
http://www.glamour.com/gallery/every-gorgeous-dress-from-the-cannes-film-festival
Best dressed from Vanity
Fair:
http://www.vanityfair.com/style/photos/2016/05/cannes-red-carpet-best-dressed-2016
http://www.vanityfair.com/style/photos/2016/05/cannes-red-carpet-best-dressed-2016
with a historical glimpse into the past:
http://www.vanityfair.com/hollywood/2016/05/cannes-film-festival-party
http://www.vanityfair.com/hollywood/2016/05/cannes-film-festival-party
Red carpet fashion from The
Guardian:
http://www.theguardian.com/film/gallery/2016/may/16/cannes-day-five-ruth-negga-adam-driver-jim-jarmusch-in-pictures
http://www.theguardian.com/film/gallery/2016/may/16/cannes-day-five-ruth-negga-adam-driver-jim-jarmusch-in-pictures
Cannes photos from The
Telegraph:
http://www.telegraph.co.uk/films/2016/05/10/cannes-2016-the-film-festival-in-pictures/
http://www.telegraph.co.uk/films/2016/05/10/cannes-2016-the-film-festival-in-pictures/
and The Belfast
Telegraph:
http://www.belfasttelegraph.co.uk/galleries/entertainment/cannes-film-festival-2016-george-clooney-cheryl-cole-and-victoria-beckham-spotted-on-red-carpet-photos-34706503.html
http://www.belfasttelegraph.co.uk/galleries/entertainment/cannes-film-festival-2016-george-clooney-cheryl-cole-and-victoria-beckham-spotted-on-red-carpet-photos-34706503.html
photo gallery from Marie
Claire:
http://www.marieclaire.com/fashion/news/g3721/cannes-2016-best-dressed/
http://www.marieclaire.com/fashion/news/g3721/cannes-2016-best-dressed/
best dresses at Cannes from Marie Claire:
http://www.marieclaire.co.uk/fashion/ideas/37571/cannes-film-festival-2016-the-best-dresses-celebrity-pictures-from-this-year.html
http://www.marieclaire.co.uk/fashion/ideas/37571/cannes-film-festival-2016-the-best-dresses-celebrity-pictures-from-this-year.html
best Cannes dresses of all time, from Marie Claire:
http://www.marieclaire.co.uk/celebrity/pictures/33488/best-cannes-film-festival-dresses-of-all-time.html
http://www.marieclaire.co.uk/celebrity/pictures/33488/best-cannes-film-festival-dresses-of-all-time.html
The International
Business Times:
http://www.ibtimes.co.uk/cannes-film-festival-2016-best-photos-celebrities-red-carpet-1559876
http://www.ibtimes.co.uk/cannes-film-festival-2016-best-photos-celebrities-red-carpet-1559876
A French site that lists daily galleries of red carpet
photos:
http://festival-de-cannes.cineday.orange.fr/diaporamas/
http://festival-de-cannes.cineday.orange.fr/diaporamas/
Photo gallery from The
Daily Mail:
http://www.dailymail.co.uk/tvshowbiz/article-3591193/Braless-Kendall-Jenner-draws-attention-cleavage-navy-wrap-dress-leads-glamour-star-studded-afterparty-Cannes-Film-Festival.html
http://www.dailymail.co.uk/tvshowbiz/article-3591193/Braless-Kendall-Jenner-draws-attention-cleavage-navy-wrap-dress-leads-glamour-star-studded-afterparty-Cannes-Film-Festival.html
Celebrities arrive for the 2016 Cannes Film Festival, from The NY Daily News:
http://www.nydailynews.com/entertainment/stars-flock-france-2016-cannes-film-festival-gallery-1.2631521
http://www.nydailynews.com/entertainment/stars-flock-france-2016-cannes-film-festival-gallery-1.2631521
Vogue guide to Cannes:
http://www.vogue.co.uk/spy/celebrity-photos/2016/05/11/cannes-film-festival-2016
Elle fashion
photos:
http://www.elleuk.com/fashion/celebrity-style/the-cannes-film-festival-2016-red-carpet
http://www.elleuk.com/fashion/celebrity-style/the-cannes-film-festival-2016-red-carpet
Los Angeles Times
gallery photos:
http://www.latimes.com/entertainment/movies/la-et-mn-cannes-film-festival-2016-pictures-photogallery.html
http://www.latimes.com/entertainment/movies/la-et-mn-cannes-film-festival-2016-pictures-photogallery.html
Daily list of best dressed at Cannes from Blouin Art Info:
http://www.blouinartinfo.com/galleryguide/894412/894411/event/1305845
http://www.blouinartinfo.com/galleryguide/894412/894411/event/1305845
Harper’s Bazaar at
Cannes:
http://www.harpersbazaar.com/celebrity/red-carpet-dresses/g7249/cannes-fashion-2016/
http://www.harpersbazaar.com/celebrity/red-carpet-dresses/g7249/cannes-fashion-2016/
Red carpet photos from Shopstyle
http://www.shopstyle.com/blog/Cannes-Film-Festival-Red-Carpet-Style-2016-41273516?_ga=1.194392813.1574263862.1463067386
http://www.shopstyle.com/blog/Cannes-Film-Festival-Red-Carpet-Style-2016-41273516?_ga=1.194392813.1574263862.1463067386
Hollywood Life
photo gallery:
http://hollywoodlife.com/2016/05/11/blake-lively-best-dressed-celebrities-2016-cannes-film-festival-kristen-stewart-pics/
http://hollywoodlife.com/2016/05/11/blake-lively-best-dressed-celebrities-2016-cannes-film-festival-kristen-stewart-pics/
People magazine
hits the Cannes red carpet:
http://www.people.com/people/gallery/0,,21005726_30489946,00.html
http://www.people.com/people/gallery/0,,21005726_30489946,00.html
Thierry Frémaux
Why
Cannes Programmers Are Stubborn About The Future Of Cinema — And Potentially
Right Eric Kohn from indieWIRE,
May 10, 2016
The massive festival benefits from a contrast of artistic
sensibilities rather than pushing one agenda.
"What is cinema?" That's the question posed by the
title of collected writings by French critic Andre Bazin nearly 50 years ago.
These days, it's a particularly tough question: TV overshadows feature films in
the cultural landscape, while digital advancements range from social media to
virtual reality. Now more than ever, we need a festival to clarify the changing
identity of cinema.
Just don't tell that to Thierry Fremaux, the festival's
poker-faced director.
"In Cannes, our role is to defend film — to show both its
power and vitality," he wrote me in an email this week, asserting that
virtual reality installations belong in the Cannes marketplace rather than its
official selection of films. "That is its role," he said. "But
Cannes is a film festival."
And television, he added, deserves a separate context. "We
must invent a special festival for it," he said. "However, movies are
doing well — as you'll see from the geographical selection this
year."
Naive? Stubborn? Maybe, but the program
supports Fremaux's resistance to anything but the purest definition of the
movies. The 50 titles in the official selection, whittled down from some 1,800
submissions, represent dozens of countries along with filmmakers new and old.
Collectively, they speak to a common understanding of movies as distinct
artistry.
Day four, for example, finds Steven Spielberg's Disney-financed
children's novelization "The BFG" screening for the press and
industry just a few hours after Korean director Park Chan-wook's erotic
thriller "The Handmaiden." That same day, Chilean director
Alejandro Jodoworsky's surrealist ode to his youth, "Endless Poetry,"
premieres in Directors Fortnight, and British filmmaker Andrea Arnold's teen
runaway drama "American Honey" surfaces in the evening. One 12-hour
period at Cannes is a self-contained argument for the medium's vitality.
Fremaux himself clearly has his favorites, repeatedly singling
out German director Maren Ade's relationship drama "Toni Erdman" and
Brazil's Kleber Mendonça Filho's mysterious "Aquarius" as two major
highlights. But others who have seen some selections in advance — such as
Edouard Waintrop, who programs Directors Fortnight — have their own
preferences. Waintrop touted two French films in competition, Bruno Dumon's
"Slack Bay" and Alain Giraudie's "Staying Vertical," along
with "Train to Busan," from Korea's Yeon Sang-Ho.
His own section's highlights include "Risk," the latest
documentary from "Citizenfour" director Laura Poitras, which the
festival added at the last minute. It was one of several entries that the
programmer described as a surprise this year; another was "My Life As a
Courgette," a Swiss animated film that he randomly encountered at a
special screening near his home in Geneva. "We cross the world to see
movies, but one of the best I've seen was almost shown to me in my living
room," Waintrop said.
For Waintrop, the joy of programming comes from his personal
satisfaction with the films in the selection. "The first criteria for a
movie to be selected is the pleasure it gives us," Waintrop said.
"This is a subjective criteria that we brandish as a banner."
Charles Tesson, artistic director of Cannes' Critics Week
section, expressed a similar sentiment. His festival's seven-film selection —
with one new title premiering each day — "is not intended to illustrate
one day of cinema, but to offer several ways of seeing it across a wide spectrum."
Which is to say: Embrace the contrasts. Social media may have
sped up and simplified the terms of the conversation, but nothing stimulates a
dense series of far-reaching debates about the state of the movies like Cannes.
"The festival belongs to everyone," Fremaux wrote me. "So
everyone has their own opinions about it. Sometimes they're great; sometimes,
they're stupid. When you do this job, you must be able to accept
everything."
And that may be the single reason why, in the decade that I have
attended this festival, Cannes has remained a complete rarity on the world
stage even as the medium continues to change. In an age that favors consensus,
it celebrates a culture defined by opposing sensibilities. The festival flings
21 competition titles at a jury of filmmakers and actors — this year headed by
George Miller — and forces them to argue through their favorites.
Many film festivals have similarly complex visions of the art
form, but only Cannes achieves it on such a massive scale. The festival may
offer no single definition for cinema or a reliable prediction of its future,
but over the course of 10 days, it offers a dramatic assertion of the art
form's resilience. Let the arguments begin.
Chadian director Mahamat-Saleh Haroun at Cannes in 2013
Chad's
'torture factories' under spotlight at Cannes film festival The
Guardian, May 16, 2016
Hissein Habre: a Chadian
Tragedy documentary, due to premiere at the event, sheds light on one of
Africa’s least-known mass killings
There is a heart-stopping moment in a new documentary about the survivors
of Chadian dictator Hissène Habré’s torture chambers, when one of the torturers
kneels down in front of his victim and begs for forgiveness.
“I had to follow orders,” mumbles the man, now living on the
streets as an outcast. “Then why did you have to beat me so badly?” his victim
asks, handing the former gendarme the rubber pipe he used to flail his
prisoner’s leg to a pulp. “Your superiors told you to stop, but you went on and
on,” adds the victim, who lost a leg as a result of the beating.
The scene is typical of the muted but unflinching encounters that
fill Hissein
Habre, A Chadian Tragedy, Mahamat-Saleh Haroun’s film about one of Africa’s
least-known mass killings, which premieres at the Cannes film festival on
Monday.
Some 40,000 people were murdered during Habré’s eight-year reign
of terror between 1982 and 1990, while the west looked the other way, more
worried about the cold war and Muammar Gaddafi in Libya.
Habré was an ally of the Americans at the time. French money even
paid for the country’s political police, the feared DDS, who committed torture
on an industrial scale, according to Clément Abaifouta, who leads a survivors’
group in the capital N’Djamena.
Abaifouta’s group has spent 15 years trying to bring the former
rebel leader – who was deposed in 1990 – to trial. Habré will finally be judged
later this month at a special
tribunal in neighbouring Senegal, where he had fled into exile.
One of the victims featured in the film, Adimatcho Djamai, who
was tortured so badly he spent more than two decades forced to lie on his back,
died the day he was due to testify at Habré’s trial.
Haroun said he wanted to cast a light on what he calls “this
genocide” largely ignored by the outside world “because it was some business of
the blacks” carried out behind closed doors.
The director uses Abaifouta as his narrator, visiting his fellow
survivors and gently coaxing the horrific stories of their torture from them.
Abaifouta says he would sometimes wake to find another inmate
dead beside him and “be glad that it meant a little more space. That is what we
were reduced to” he said. “We were beasts.”
Haroun said most of the people who were rounded up by Habré’s DDS
henchmen “were innocent. They were arrested for no reason, the random victims
of a bloodthirsty regime.”
Haroun – Chad’s foremost filmmaker whose film Grigris competed
for the Palme d’Or at Cannes in 2013 – said he wanted to see “if was it
possible to still live together after such monstrosities. Can survivors still
find a place for forgiveness in their hearts?”
Cannes
Review: Andrea Arnold's 'American Honey' Is A ... - The Playlist Jessica Kiang, May 14, 2016
Youth is not exactly wasted on the young, even when the young are
as wasted as they frequently are in Andrea Arnold‘s nectar-hued, poignant, yet
propulsive “American Honey.” It’s more that youth is impossible to experience when
you’re young — it is an unexamined state that has no frame of reference to
anything else. So in real life, you can’t ever really “feel young,” but you can
at the movies. Especially if that movie is “American Honey,” into which it
feels like Arnold distills the very essence of youth, and along with a
never-better Robbie Ryan as her cinematographer, serves up golden image after
golden image as though dispensing amber shots of hard liquor. It will make you
drunk, it will make you giddy, it will make you high, and at 2 hours 43
minutes, it will eventually make you tired, but even with the hangover,
“American Honey” is a glorious mezcal bender. Eat the worm.
Popping onto the screen in a fabulous 4:3 aspect ratio which
already kicks against the impulse to track the open spaces of middle America in
widescreen vistas and godlike panoramas, from the first scene you are plunged
headfirst into Arnold’s immediate style, and allied entirely to the point
of view of her star, the aptly named Star, played by the film’s revelation,
Sasha Lane. In messy dreadlocks and a cheap tank top with a couple of kids
almost certainly not her own in tow, 18-year-old Star is digging through a
dumpster and scores a chicken still in its packaging. Then, after a few
abortive attempts to get the three of them home by hitchhiking, a white minivan
stuffed with people, and a pair of mooning buttocks in the back window, drives
by. Star locks eyes momentarily with the guy in the passenger seat, and when it
pulls into a nearby supermarket shopping lot, she goes over to engineer a
prickly introduction in which the attraction is clearly reciprocated.
The guy is Jake (Shia LaBeouf, reminding us all, for the most
part, that he’s a good actor despite sporting the most appalling hairdo) and he
suggests Star join the boisterous group who, it turns out, sells magazine
subscriptions door-to-door in what’s basically a borderline pyramid-scheme
scam. They work under the watchful eye of their manager Krystal (Riley Keough,
whose performance here coming so soon after her astonishing turn Starz’ “The
Girlfriend Experience” is similarly shark-eyed, monetary and almost animalistically
alpha-female) whose relationship with Jake gives the film its very loose
love-triangle stakes. The outfit essentially operates like a little tribe, or a
cult, with its own rituals and traditions, bonded together fairly ferociously
but less by affection than by the shared acknowledgment that none of them have
anyone else.
Indeed, outside of our three main stars, the rest of the troupe,
aside from Pagan, played by Arielle Holmes (“Heaven Knows What“), about
whom we get a little personal detail, aren’t particularly differentiated aside
from their hairstyles and body types. Largely played by first-timers, they are
there more for the choral vibe of authentic youthfulness they collectively give
off rather than for individual characterization.
Arnold’s eye for the miraculously skewering detail is as sharp as
ever and the Robert Frank-style Americana of this road trip allows dozens of
lovely touches: shots of wasps rescued from drowning in swimming pools, peeing
dogs in Superman capes, and curling faded photographs tacked onto squalid
walls. And in other ways she seems to have developed, too, perfecting the
kinetic, dynamic cutting that she displayed in her terrific “Fish Tank,” that
can be adapted for the purposes of tension, as Star gets herself into situations that
could easily turn ugly, or of celebration, as in the film’s many exuberant
dancing, party and music scenes.
And the music is something else again — a great soundtrack
composed largely of songs many of us wouldn’t be caught dead listening to under
normal circumstances, Arnold finds frequent use for everything from Southern
rap to Bruce Springsteen to Rihanna (in fact, this is the second
recent outstanding anthemic film about young womanhood, after Céline Sciamma‘s
“Girlhood,” to capture the alchemical effect of Ri-ri’s music on
disenfranchised millennial females). And if occasionally the soundtrack lands a
little on the nose (Jake and Star literally find love in a chain supermarket —
a hopeless place if ever there was one), the clever way the sound is designed
compensates, with massive party tracks cutting out abruptly on an edit to give
a sense of next-day hangover, and most unexpectedly, at the film’s lovely close
when Star has a private moment of baptism during a lakeside party, and after
all the noise and clamor she is reborn in quiet.
It is indulgent in its length and relative plotlessness, though
there’s no point at which the bravado of Arnold’s filmmaking, Lane’s riveting
performance or Ryan’s stunning Polaroid-shaped lensing ever flag. And there
is a slight issue with LaBeouf, so good in the early stages, especially when
being used as a pawn in the tacit territorial battle between Krystal and Star,
in that it’s jarring when he gets to be all Shia LaBeouf-y and beat up a living
room, then roar away on a motorcycle.
But for the most part, Arnold has a tight grip on what she wants
her loose-limbed film to be: a thrumming blood-rush firsthand experience of
youth, of aimlessness and love, with the top down and the radio blaring and the
certainty that you are so indestructible and so eternal that you don’t even
need to hold onto this moment because everything is always going to be just
like this. And that’s the loveliness of the transient but heady “American
Honey”: It captures the experience of being young in a way that you don’t get
to experience when you are young. Ephemerality is both the beauty and the
tragedy of youth — it’s what gives it meaning but it’s also what snatches
meaning away. With Arnold’s film, we don’t get to hang on the feeling forever,
but we do get to trap it like a wasp under a glass, and to examine it a moment
before setting it free. [B+/A-]
* * * *
Cannes critics ratings, a composite of 7 different critic
scores:
The Cannes Criterion Forum is up and running:
Screendaily Jury Grid (Page 56 from Digital edition from Day 6), where Toni Erdmann, which has been bouyght by Sony pictures, has set records for high scores, Cannes: 'Toni Erdmann' sets Screen Jury Grid record
Ioncinema Critics Panel:
Les Etoiles de la
critiques is up and running as well (click on image to obtain a full
screen):
While Neil Young from Jigsaw
Lounge maintains the odds for winners:
* * * *
The round-up of various links covering Cannes:
Screendaily still
has paywalls, but if you click on the reviews, they are at least
temporarily open to the public:
The Hollywood Reporter
at Cannes:
David Hudson does all the links for each review at Fandor:
The Film Center’s Barbara Scharres, Ben Kenigsberg and Chaz
Ebert at Cannes from the Roger Ebert blog:
a round-up of Cannes news and reviews from indieWIRE:
The Guardian
collection of reviews:
Mike D’Angelo back at The
Onion A.V. Club:
Sophie Monks Kaufman and David Jenkins from Little White Lies:
Daniel Kasman, Adam Cook, and likely others at Mubi Notebook:
Fabien Lemercier at Cineuropa:
Sukhdev Sandhu and Robbie Collins from The Daily Telegraph:
Slant magazine at
Cannes:
Eric Lavallee and Nicholas Bell from Ioncinema:
Drew McSweeny and Guy Lodge & others from HitFix:
Glenn Heath Jr. from The
L-magazine:
Various writers at Twitch:
And, of course, George is back at Cannes this year, where he
finds off the beaten track film fare:
Wild, exuberant, unpredictable, volatile youth highlighted
my day’s two winning films, one taking place in Russia and the other in the US.
A small tribe of them galvanate across the US in a van selling magazine
subscriptions and partying in “American
Honey” by the fifty-year old Brit Andrea Arnold, who understands their
mentality as if she is one of them. The latest recruit to the bunch is
Star, a rambunctious young woman who claims to be eighteen, but may be younger.
The film opens with her scavenging food from a dumpster with two children
she is looking after for a friend. Her daredevil spirit is attracted by a
van of lively characters who moon her as she is trying to hitchhike and then
pull into the Walmart across the street. She tracks them down and is then
invited to join them.
She is taken under the wing of a fast-talking guy who is the
best salesman of the bunch and the lover of the woman who orchestrates their
movements, finding motels for them to stay at and locations for them to take
their act to. Star tries to remain herself and not make up the stories
the others resort to saying their father died in Afghanistan or they are
raising money for their college. It loses her some sales but wins her
others. The energy of this three-hour film does not flag. The
acting is remarkable as well as the camerawork. This may stray into the
fancible, but it is a film to admire. It is a film Harmony Korine
or Gus Van Sant could have made, except with a feminine sensibility. It
would a daring, but worthy choice, to award Sasha Lane Best Actress honors.
The festival appreciated her performance to such a degree that it put her
on the cover of the program.
The Russian Bible-spouting student in “The Student” would be appalled by the antics and the attire of
what he would consider the heathens of “American Honey.” He knows the
Bible backwards and forwards and like some Shakespearean character is
continually spouting lines from the book that are annotated on the screen as
they appear. He rails against the bikinis and skimpy attire that the
students wear in swim class as fostering lust. He takes great affront to
the sex education class demonstrating the use of condoms on carrots, and strips
naked in protest. The Bible preaches to go forth and multiply, not to use
condoms he says. The Bible quotations flow so naturally off his tongue,
one might not recognize them as coming from the Bible if it were not for the
quotation marks around them in the subtitles. He is wild and
rambunctious enough to be one of the Americans selling magazine subscriptions,
but he is a rebel of an entirely different stripe. His performance is as
powerful and entrancing as that of Star and he is equally committed to
his ideals. They are rare original cinematic characters.
The always brilliant Marion Cotillard, in the first of the
two Competition films she appears in, carries “From the Land of the Moon.” She is a slightly mad young woman
living a century ago who hasn’t found a husband and who her parents make wed a
bricklayer they hardly know. He is a good man and accepts she does not
love him and is willing to visit prostitutes for his needs. When she
learns what he is paying them she says to leave that amount on her dresser and
join her in bed. He keeps hoping he’ll win her over. He sends her
to a sanatorium in Switzerland, where she falls in love with a fellow patient.
He doesn’t answer her letters when they are both released. The
movie goes on for decades more before it reaches a not surprise denouement.
Ho-hum.
The rest of my day was three average documentaries whose
running times and theaters they were playing in fit my schedule. The
first was the Danish “Bugs,” asking
the question of whether bugs could answer the planet’s dietary needs. It
doesn’t reach a conclusion and is more interested in following a couple of
young proponents of insects as food to Australia and Africa and Mexico where
they dig for ants and tempted and other insects and give them a taste.
“Uncle Howard”
was a polished enough effort to have been selected to play at Berlin and
Sundance, though it was in the Market here. Howard is the filmmaker Howard
Brookner who died at the age of 35 in 1989 after making an acclaimed
documentary on William Burroughs and was in the process of making his first
feature starring Madonna when he died of AIDS. He inspired his nephew
Aaron Brookmer to become a filmmaker and this is is ode to him, beginning with
the discovery of reels of his films in Burroughs’ bunker. Jim Jarmusch
knew Howard. He produced the film and joins the young filmmaker when he
is finally given access to the treasure trove. This is no “Finding Vivian
Meier,” as the producers might have hoped.
“Shadow World” indicts the weapons industry for having
its way with government leaders around the world. It’s chock full of
clips of Thatcher, Reagan, Bush, Obama and many Saudi princes. Even
though it begins with the pronouncement that WWI created 21,000 millionaires
thanks to all the weapons sold, it doesn’t pursue this or identify them other
than a few of the corporations. This film needed Michael Moore to give it
some impact.
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