MOGADISHU, Somalia (AP) — The cries of distressed children filled the ward for the severely malnourished. Among the patients was 1-year-old Maka’il Mohamed. Doctors pressed his chest in a desperate attempt to support his breathing.
“There’s places in Alaska where we’ve shown that it doesn’t take any more global warming,” for them to disappear, Truffer said. “The reason some ... (still) exist is simply because it takes a certain amount of time for them to melt. But the climate is already such that they’re screwed.”The Associated Press’ climate and environmental coverage receives financial support from multiple private foundations. AP is solely responsible for all content. Find AP’s
for working with philanthropies, a list of supporters and funded coverage areas atCANNES, France (AP) — When Michael Cera was announced as joining the cast of amovie for the first time, the prevailing response was: Hadn’t he already been in a Wes Anderson movie?
So seemingly aligned in sensibility and style are Cera and Anderson that you could easily imagine a whole fake filmography. It is, for a slightly more corduroyed corner of the movie world, an actor-director pairing as destined as Scorsese and De Niro — even if “The Phoenician Scheme” is (checks notes one last time) their first movie together.“I would remember,” Cera deadpans. “I would never have passed up the opportunity.”
“The Phoenician Scheme,” which Focus Features releases Friday in theaters, stars Benicio del Toro as the international tycoon Zsa-zsa Korda, who after a lifetime of swindling and exploiting has decided to make his daughter, a novitiate named Liesl (Mia Threapleton), the heir to his estate.
Cera plays Liesl’s Norwegian tutor Bjørn Lund. And because of the strong leading performances, you couldn’t quite say Cera steals the show, he’s certainly one of the very best things about “The Phoenician Scheme” — and that’s something for a movie that includes Tom Hanks and Bryan Cranston playing a game of HORSE. Bjørn is an entomologist, which means Cera spends a sizable portion of the movie in a bow tie with an insect gently poised on his finger.In addition to her design expertise, Liebes could communicate it. She frequently appeared on television and in magazines, and mentored young weavers and designers in her studios in California and, later, New York.
Among highlights of the show are the brave — and bright — blue and green color combination in the first-class observation lounge of the ocean liner S.S. United States. There are the brilliant reds and blues of the first-class seating on American Airlines flagship 747; the glamorous textile backdrops of the 1947 film “Eastside, Westside”; and the dazzling upholstery of the 1957 Chrysler Plymouth Fury.There also are Liebes’ collaborations with fashion designers Clare Potter and Bonnie Cashin, revealing the frequent interplay between fashion and interior design.
“There is nothing like what I call a ‘whameroo’ color to make the whole thing come alive,” Liebes told Potter when Potter said she loved the way Liebes would “inject something startling” in her work.“Don’t be afraid of color,” Liebes said. “Color is heady stuff, and the more one lives with it (as the 20th century man does), the more one can digest. After all, it isn’t the color, but the combination of colors and values.”