The Michael Moore film Fahrenheit 9/11 is analysed in regards of Bill Nichols terms about documentary filmmaking. Nichols introduces modes of representation. These modes are central to this analysis. In addition it is discussed how Moore establishes his position toward his subject and his audience. The film was reviewed and debated a great deal in the Danish written press. Enclosing this debate is put up against the analysis. What do the critics see, and what don’t they see? Can this analysis compliment the debate on the special style and use of modes which in found in Fahrenheit 9/11.