Originally published on Fri November 9, 2012 5:18 pm
Every second-term president has to rebuild some or all of his Cabinet as high-profile members often time their resignations with the end of the president's first term. President Obama already is expected to receive a number of resignations, which he will have to fill.
With the guessing game under way, here's a look at some of the people who may emerge from a second-term Cabinet shakeup:
Two decades ago, James Balog was one of the people who couldn't wrap his head around the prospect of global warming. The threat seemed too abstract, and the science too linked to the sort of computer-model analysis he disdained.
But the geographer-turned-photographer (principally for National Geographic) doesn't think that way any more. Neither will most of the viewers of Chasing Ice, the documentary that observes Balog's efforts to chronicle the planet's shrinking glaciers.
The Oscar race for best foreign-language film rarely comes without a helping of muslin-and-bonnet dramas stuffed with misbehaving royals, masked balls and burgeoning job opportunities for food stylists. As heritage cinema goes, however, the year's Academy Award entry from Denmark is a firecracker.
Relocating Dangerous Liaisons, the 18th-century French erotic intrigue, to 1930s Shanghai is a bold move. And yet it's not especially surprising. In Chinese movies, that city in that decade frequently serves as shorthand for decadence. And what could be more decadent than two debauched ex-lovers cold-heartedly planning to destroy the innocence of not one but two virtuous women?
It's never quite safe to trust your eyes — or your memory — when it comes to In Another Country, the latest effort from the playful and idiosyncratic Korean filmmaker Hong Sang-soo. Isabelle Huppert appears as three different characters, all apparently named Anne; she's thrice the star of a hypothetical movie within the movie, a screenplay coming together on the notepad of a young Korean woman living away from home.
In two of her most prominent early roles — as Woody Allen's teenage girlfriend in Manhattan and as Dorothy Stratten, the slain Playboy centerfold in Bob Fosse's Star 80 — Mariel Hemingway played young women under the sway of older, more powerful men. Both characters are objects of beauty, and Hemingway's soft voice and hazy eyes reinforced their passivity, even as they hid a more introspective side. The overall effect is an innocent, almost childlike openness, like a blank slate ready for imprinting.