In 1994 Paul Rusesabagina, a hotel manager in Kigali, Rwanda, risked his life to help save more than 1,200 men, women and children from the ethnic cleansing that wiped out nearly 1 million Rwandans in 100 days. Through this true story Hotel Rwanda tells the story of the genocide in Rwanda.
Chariot from Hades, fire glinting from its windshield, steel knife splitting the atom to pull in front of me, so close now I can see the driver, her phone, can hear death ring. Searching for a place to get away, I swerve into a corridor of hate, detesting her, my body fired with full throttle hatred, I rev up, speed ahead, so close now I can see her her mouth a frightened grimace. How exposed she is, wearing only the flimsy dress of a car, her brief face etched and dying on the air, when someone calls, Bless this child. May her parents see her alive tonight, speaking through me, a voice, then peace, as she passes safely by.
Purporting to deliver the straight goods on modern sexual interactions, Closer is glossier than last summer’s similarly themed We Don’t Live Here Anymore, and it has a more impressive pedigree—an award-winning director (Mike Nichols), a highly acclaimed British stage play (by Patrick Marber) for its source, and a glamorous cast: Julia Roberts, Clive Owen, Jude Law and Natalie Portman
Mark Bustos, a stylist at an upscale salon in Manhattan, gives free haircuts to homeless people every Sunday, his only day off from work. He started the practice during a trip two years ago to the Philippines. The response was so enthusiastic that he decided to make the same offer in New York. Many of the people whose hair he cuts are very thankful. He especially remembers the man who, after seeing what he looked like with his new haircut, asked, “Do you know anyone that’s hiring?” (The Week, August 29).