The victory at the Oscars of Kathryn Bigelow’s The Hurt Locker over James Cameron’s Avatar was generally perceived as a good sign of the state of things in Hollywood: a low-budget, independent film overcomes a superproduction whose technical brilliance cannot cover up the flat simplicity of its story. So Hollywood is not just a blockbuster machine, but still knows how to appreciate marginal creative efforts. Well, maybe. But it’s also the case that, with all its mystifications, Avatar clearly takes the side of those who oppose the global military-industrial complex, while The Hurt Locker presents the US army in a way which is much more finely attuned to its own public image in our time of humanitarian interventions and militaristic pacifism.