The endless and alternately lurid and fawning coverage of the suicide of comedian Ni Min-jan (
Before the memorial, on Wednesday, Ni's clique, now expanded to include all the new hangers-on, was on hand to record a heart-rending paeon to the man himself. It looked a bit like a Taiwanese version of LiveAid, except instead of raising money for impoverished, dying children in Africa, the benefactor in this case was to be Ni's surviving family members who could be seen wiping tears from behind their designer sunglasses all week. The whole affair was touching evidence that in Taiwan's clan-like, hyper-exclusive entertainment circles, people will certainly look after their own.
Having outdone even the pope in garnering saturation media coverage of the funerary buildup in Taiwan, Ni's death triggered worries among "experts" that the sustained cluster wail over the past week would tip fragile souls pondering the great leap to take that final step. If anyone wanted to commit a copy-cat suicide, however, they'll need to find another tree, as locals in Ilan County cut down the tree from which Ni hanged himself.
The Chinese diaspora's ultimate vixen Bai Ling (
In Hong Kong, Leon Lai (
In more cinema news, Asian films are making a strong showing at the Cannes Film Festival this year with five taking part in the festival's competition section. Hou Hsiao-hsien's (侯孝賢) The Best of Our Times (最好的時光), Wang Xiaoshuai's (王小帥) Shanghai Dreams (青紅) and Johnnie To's (杜琪峰) Election (黑社會) represent Chinese-speaking cinema, while Kobayash Masahiro's Bashing and Hong Sangsoo's Tale of Cinema round out the Asian competitors. Last year, Wong Kar Wai's (王家衛) 2046 stirred up a lot of and anticipation, but the buzz this year is tending more toward American Jim Jarmusch and his Broken Flowers.



