There will be no red carpet for Adam Curtis when his film The Power of Nightmares receives its gala screening at the Cannes Film Festival on Saturday. There would be no point: his film has no leading ladies who could disport themselves in backless numbers or lantern-jawed himbos to vogue fatuously before the snappers. Unless, of course, two of his chief protagonists, Osama bin Laden and Paul Wolfowitz, could be prevailed upon to pose together for the world’s press on the Grand Palais steps.

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Last year, Fahrenheit 9/11, Michael Moore’s documentary, described by the Guardian’s Peter Bradshaw as a “barnstorming anti-war/anti-Bush polemic tossed like an incendiary device into the crowded Cannes festival”, won the Palme d’Or. This year something more discreet, but perhaps no less incendiary, is go ing to go off at Cannes in the form of Curtis’s Bafta-winning documentary. Like Star Wars: Episode III – Revenge of the Sith and Woody Allen’s Match Point, Curtis’s film is not in competition, but it is nonetheless this year’s Fahrenheit 9/11, shaking festival-goers out of their aesthetic reveries with a political analysis of the causes and consequences of the attacks on the World Trade Centre and the Pentagon.

Curtis does not care for the Moore parallel. “Moore is a political agitprop film-maker. I am not – you’d be hard pushed to tell my politics from watching it. It was an attempt at historical explanation for September 11. You see, up to this point nobody had done a proper history of the ideas and groups that have created our modern world. It’s weird that nobody had done before me.”

More at [film.guardian.co.uk]