Michael Moore has me to thank. As soon as I wrote of Fahrenheit 9/11 that "it will definitely not win the Palme d'Or", he was a lock for the coveted golden gong. Quentin Tarantino said at the post-awards press conference that "I knew all this politics crap would be brought up. We all agreed that Fahrenheit 9/11 was the best movie of the competition." In other words, the jury claims politics had nothing to do with it, but I doubt many Republicans will be commenting, "Great movie Mike! Pass the popcorn."

So, I was wrong. But then, so were many others. No one I spoke to really expected it to win top prize (except for my cameraman/editor, Simon Williams - who I really should have listened to), and The Motorcycle Diaries is still, I insist, a better movie. But Moore's picture is of-the-moment and its message is a powerful and important one. If winning means more notice is taken of it in America, then its victory is something I celebrate along with the portly documentarian behind it.

Before the award was announced, I spoke to various people to ask if they thought the Palme was important. See what they thought. I also caught up with the characters we've followed through Cannes, to see how the festival was for them. Watch their reactions in The Last Word. And, last but by no means least, take an exclusive look at the Cannes Film Festival's most original prize, the Palme Dog. Awarded to the film featuring the best hound, it's the brainchild of Toby Rose - a journalist whose quick wits and presenting skills made me realise, halfway through the festival, that he should be doing my job. Watch Mad Dogs And Englishmen to see why.