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Or, to use Moore’s own words, minus one we can’t print: “How the f— did this happen?”

He spends two full hours trying to answer that question. Is it effective? That depends on whether you accept the implicit argument that you can’t truly illustrate our messy, chaotic, disjointed times without, well, a messy, chaotic, disjointed movie. He sort of has a point.

And whether Moore’s frenetic but absorbing work here — the cinematic equivalent of a Jackson Pollock painting, where you throw everything and some of it sticks — pleases or frustrates you, one thing is clear. Moore’s at his best when hitting a subject dear to his heart. That’s why “Fahrenheit 11/9” is best when Moore turns his camera on his hometown of Flint, Michigan, and its devastating water crisis. You may not cry when Moore unleashes a “Jaws”-like score as Trump takes the presidential oath. But you may cry when listening to the grieving, angry citizens of Flint.

Moore begins with a whiplash-fast sequence that, to Democrats, will indeed play like a horror film, and a too-familiar one: the near-universal assumption that Hillary Clinton would win, giving way to election night shock.

Then it’s on to the big question. HOW? Yes, it was the Russians, Moore says, and James Comey, but really, it was Gwen Stefani. When Trump realized NBC was paying her more on “The Voice” than he was getting on “The Apprentice,” Moore posits, he announced a “fake” presidential run to raise his profile with the network. Only later, he says, adoring rally crowds convinced Trump that maybe this president thing was an OK idea.