Michael Moore turns his camera on the American health insurance industry, starting not with the uninsured but with people who had coverage and still got destroyed by it: a man forced to choose which of two severed fingers he could afford to reattach, families bankrupted by claims their insurers found ways to deny. Linda Peeno, a former HMO medical reviewer, testifies to Congress about being paid to reject patients' claims. Moore then takes the comparison abroad, visiting hospitals in Canada, the United Kingdom, and France where treatment is free at the point of care, asking doctors and patients why the system works the way it does. The film's most staged sequence sends a boatload of ailing 9/11 rescue workers to Guantanamo Bay demanding the same free care given to detainees, then on to Cuba for treatment once Guantanamo predictably refuses them. Moore stays in front of the camera throughout, needling insurance executives and government officials by phone and in person. It is advocacy filmmaking, built to make a specific argument, and it says so plainly.