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It also broke the record for highest opening-weekend earnings in the US for a documentary, and established a significant precedent for a political documentary (eventually earning 9 million) as the highest-grossing, non-concert, non-IMAX documentary film of all time.

It had earlier gained further publicity and notoriety when Disney opted not to distribute the film through its Miramax subsidiary unit, and Moore accused the company of censorship.

In the film's most notorious, explicit and controversial scene of unsimulated fellatio at the finale, Bud and Daisy were in a starkly-white hotel room (soon-to-be-revealed as a fantasy masturbatory sequence) - both lonely and needy individuals who were attempting to connect and speak to each other.

She removed the underpants of a partially-resistant Matthew followed by the memorable "blood-on-the-face" scene, in which he copulated with and deflowered the surprisingly-virginal Isabelle on the apartment's kitchen floor as Theo non-chalantly fried eggs on the nearby gas stove.

After more kissing and fondling of her naked breasts, as he stood before her at the side of the bed, he undid his belt buckle, released his pant's fly, and she took his male member into her mouth to begin the infamous 'blow-job' scene - as he held himself.

As she pleasured him in her mouth, they still engaged in a conversation about their love for each other.

Michael Moore's controversial 'documentary' film, an anti-Iraq War treatise, was a critical expose and scathing indictment of the George W.

Bush presidency and administration for its handling of the terrorist crisis, his alleged connections to Al-Qaeda leader Osama Bin Laden's family, and his manipulation of the 9/11 tragedy to start wars in Afghanistan and Iraq.

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  1. Another similar film was Fatima’s Coochie-Coochie Dance (1896) a short nickelodeon kinetoscope/film of a gyrating belly dancer named Fatima (well-known for her dancing shows at the Columbia World's Exhibition in 1893).