Brazil’s Bid at a Continental Cinema
Walter Salles Jr.’s Motorcycle Diaries in context
by Norman Madarasz
By awarding Michael Moore’s Fahrenheit 9/11 the Palme d’Or, the 2004 Cannes Film Festival jury, presided by Quentin Tarentino, only did what was natural at this moment in time for art. It used the film to denounce the tyranny of Bush and the neocons for having intensified the violence and terror they claim to have been eradicating, and for doing so primarily to seize central Asian natural resources for personal and family gain. France happened to be the ideal place to declare such a message for more reasons than one.
Apart from the country’s opposition to the Anglo-American invasion of Iraq, the festival was also set against the social strife affecting France’s arts industry workers—the “intermittents du spectacle.” In the summer of 2003, they had managed to bring the Avignon Theatre Festival to a halt in protest of the Chirac government’s attempt to rid their status of job security and unemployment benefits. In the end, neither the intermittents nor the American occupation of Iraq made the Cannes dream-machine flicker into a fade out. Nor was there much discussion about the stance that art ought to take on the world’s current flow.