Medo e delírio na realidade

Abstract

This article aims to analyze the convergences between the aesthetics and style of Gonzo Journalism—pioneered by Hunter S. Thompson—and the filmography of Michael Moore, focusing on the 2007 film *Sicko*. Through a literature review and film analysis, we demonstrate how the stylistic and narrative strategies employed by Moore align with key pillars of Gonzo Journalism: participatory immersion, the rejection of neutrality, and the use of fiction as a tool for political critique. We conclude that, by drawing parallels with Thompson, Moore not only complicates the (theoretical) boundaries between documentary, journalism, and fiction but also amplifies the potential for combining subjectivity, participation, performance, fiction, and humor within the documentary format as critical tools against hegemonic powers.