| Credited cast: | |||
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William Black | ... | Self |
| Jimmy Carter | ... | Self (archive footage) | |
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Elijah Cummings | ... | Self (as Congressman Elijah Cummings) |
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Marcus Haupt | ... | Self |
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Baron Hill | ... | Self |
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Marcy Kaptur | ... | Self |
| John McCain | ... | Self (archive footage) | |
| Michael Moore | ... | Self | |
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Stephen Moore | ... | Self |
| Sarah Palin | ... | Self (archive footage) | |
| Ronald Reagan | ... | Self (archive footage) | |
| Franklin D. Roosevelt | ... | Self (archive footage) (as Franklin Delano Roosevelt) | |
| Bernie Sanders | ... | Self | |
| Arnold Schwarzenegger | ... | Self (archive footage) | |
| Wallace Shawn | ... | Self | |
Capitalism: A Love Story examines the impact of corporate dominance on the everyday lives of Americans (and by default, the rest of the world). The film moves from Middle America, to the halls of power in Washington, to the global financial epicenter in Manhattan. With both humor and outrage, the film explores the question: What is the price that America pays for its love of capitalism? Families pay the price with their jobs, their homes and their savings. Moore goes into the homes of ordinary people whose lives have been turned upside down; and he goes looking for explanations in Washington, DC and elsewhere. What he finds are the all-too-familiar symptoms of a love affair gone astray: lies, abuse, betrayal...and 14,000 jobs being lost every day. Capitalism: A Love Story also presents what a more hopeful future could look like. Who are we and why do we behave the way that we do? Written by Overture Films
Michael Moore has never been objective. No documentary maker ever was. When you chose a subject, you've already taken some kind of position and Moore doesn't try to hide what he thinks.
And he shows us worker's families being driven from their homes and brokers making profit on it. He shows business companies taking life insurances on their employed and taking all the money when the employed dies. He says that the Congress is in the hands of Wall Street and especially Goldman and Sachs. There are more examples.
The interesting question is why Michael Moore is so alone making these kind of films in the US. The answer is probably that the investors don't want him or anybody else to do them. They want to go on, treating the American people in the most terrifying ways. And since money seems to decide so much in that country, such films are very seldom made. But you're not supposed to know.