After a massively successful weekend at the box office, Fahrenheit 9/11 seems to have withstood the criticism and scrutiny of the American moviegoing public to become something of a phenomenon. People everywhere are talking about the film, exchanging ideas both in favor of and against the arguments presented in the movie. But people on both sides of the philosophical divide seem to agree on one thing: Michael Moore is a fat slob.

What I find completely outrageous about the way in which people have personalized Moore's ideas and filmmaking as being somehow transcendent of (if you like the movie) or an example of (if you're opposed) Moore's personal appearance is not simply the inherent anti-intellectualism in these arguments, but the fact that even the most so-called responsible film critics and thinkers have resorted to commenting on his appearance. Let's take a roll call shall we?

Last month, just after the announcement of Michael Moore's Palme D'or win at Cannes, I wrote a defense of Moore as a filmmaker and artist. The argument I presented was that Moore's subjectivity as a documentarian is not only a wonderful feature of his filmmaking, but a natural part of the artistic process and one that should be recognized not as a fault, but as a vital part of his aesthetic. I also wrote that I was presenting this argument without having seen Moore's new film Fahrenheit 911. Having now seen the film, I not only stand by my words, but I think Moore deserves even greater praise. Fahrenheit 911 is not only the most powerful film of the year, it stands as one of the most important indictments of our culture that has yet been recorded.

Tonight is the opening night of the Nantucket Film Festival., and I'm very excited. We're opening with Garden State. I'm a big fan of the film and we're thrilled to have Zach Braff here to introduce the screening. I am looking forward to doing a Q&A with him... Tomorrow, the festival starts full swing, so I won't be able to blog for a few days, but check in on Monday for a full recap... In the meantime, a view of the beach.

Wish you were here!

After writing a recent piece on the reaction to Michael Moore in our mutual hometown of Flint, MI, I received my first piece of hate mail as a writer. It was an exciting moment... I felt as though my thinking and arguments had inspired someone, somewhere, to respond. Now, I don't mind that he wrote a nasty note to the editor of the newspaper, but what is really interesting is the philosophy that underlies the thinking of someone who would take such issue with a film column for not being objective!!! I thought I would print that letter here, alongside my reply... I feel like a true writer now!

Things are getting exciting on Nantucket as we prepare for the 2004 Film Festival. One of the more interesting aspects of the programming job is working with the print traffic folks to ensure that all of the films arrive on time and safely for their screenings. Nantucket, being an island (and one that often gets fogged in), is a unique place to work on print traffic. We try to get prints to arrive as early as possible, but many distributors and filmmakers are reluctant to send them out ahead of their normal schedule. Despite our constant pleas for flexibility, we have run into some interesting print events already this year. Needless to say, it looks like we are on track for a successful festival.

Of course, it's not ALWAYS fogged in....

On Saturday, May 22, 2004, an extraordinary event took place in the Grand Théatre Lumiére (perhaps the greatest movie theater in the world,) in Cannes, France. Michael Moore, former Flint resident and America's provocateur number one, was awarded the Cannes Film Festival's Palme d'Or, without question the greatest prize in world cinema, making him the first documentary filmmaker to win since Jacques Cousteau won in 1956 for The Silent World. The award was given for Moore's new film Fahrenheit 911,and was the culmination of a long, strange journey for the film and filmmaker.

Michael Moore is a polarizing figure in the Flint community, where many believe he is responsible for portraying Flint in a negative light, holding up the community's struggles and failures, which are indeed legion, to national scrutiny in an unflattering, and often satirical manner. There are also those who agree with his tactics and his storytelling techniques, recognizing that in order to illustrate his arguments about the nature of power in America, it is important to demonstrate the reality of the economic and political abandonment of working class communities. Whatever side of the Moore divide you choose to fall on (I am in the camp of the latter group), there can be no doubting his effectiveness as a documentary filmmaker. In fact, Moore's brand of pot-stirring is so divisive and powerful, there are several websites that have been established for the sole purpose of attempting to debunk his films and his arguments, the most salacious of them going so far as to say that 'Moore fixes upon a conclusion and, when the data do not exist, simply invents them.'

Hi everyone... My name is Tom Hall, and I am the film programmer for the Nantucket Film Festival. I also write a monthly film column for The Uncommon Sense, a monthly print 'zine in my hometown of Flint, MI. As a long time reader of indieWIRE, I'm thrilled to be invited to share some of my thoughts about the films that are important to me. This is a great community of people, and it's nice to be here.

I am also known to write some long posts, but if you stick with me, I think this blog will add a unique perspective to the web community. I also encourage comments... feel free to let me know what you think about my writing and ideas.

Welcome!