Quickly, as we’re, as always, running late for something:
"The nominees for best foreign-language film are even more politically charged, and every bit as artistically successful, emotionally touching and accessible as the English-language candidates," Caryn James perfunctorily trend-spots at the New York Times. It’s not the message we would draw from this year’s nominees in the category. The five entries, all slickly made films with a pop feel appeal, tend to leap continents and cultures â€” "Pan’s Labyrinth" is a Mexican film set in period Spain; "Water" is set in India, was filmed in Sri Lanka and is a Canadian submission; "Days of Glory" is an Algerian film that’s changed the laws in France. Combined with the Best Picture nod for "Letters From Iwo Jima," Clint Eastwood‘s Japan-language war movie, the whole designation of "foreign language films" as a separate competition seems more meaningless and conciliatory than ever before.
The opera, to be directed by Cronenberg with music by Academy Award-winning film composer Howard Shore and a libretto by playwright and Los Angeles native David Henry Hwang, is scheduled to have its world premiere in Paris on July 1, 2008, then arrive in the U.S. on Sept. 7 as the opening offering of L.A. Opera’s 2008-09 season.
Sing it with us now: "Whaddaya think, a fly? / Am I becoming a hundred-and-eighty-five-pound fly? / No, I’m becoming something that never existed before. / I’m becoming… Bruuuuuuuuundlefly."
The lives of Milli Vanilli are about to become fodder for a feature film â€” Jeff Nathanson, who wrote the screenplay for "Catch Me If You Can," will write and direct the film for Universal Pictures. Via Michael Fleming at Variety:
"I’ve always been fascinated by the notion of fakes and frauds, and in this case, you had guys who pulled off the ultimate con, selling 30 million singles and 11 million albums and then becoming the biggest laughing-stocks of pop entertainment," Nathanson said. "Fabrice had always refused to sell their rights; he was very cautious of Hollywood after all he’d been through. But my intention is to tell this story from their point of view."
Sing it with us now: "Why? Why? Whyyyyyyyyy?"