We've been tracking Blindness, the upcoming Fernando Meirelles film, for months. To recap, Erik Davis first reported that Don McKeller had adapted the novel by Nobel Prize winner Jose Saramago, which "revolves around a blindness epidemic that sweeps through a contemporary city, paralyzing its citizens to a point where society is on the verge of breaking down." Julianne Moore and Daniel Craig were in talks to star as a doctor and his wife, the only person unaffected by the epidemic. Two months later, Jessica Barnes told us that Craig dropped out. He was replaced by Mark Ruffalo shortly thereafter, as noted by Jennifer DeFilippo. Just a week after that, Monika Bartyzel enthused about the cast members who were added: Danny Glover, Gael Garcia Bernal and Alica Braga. And now the point of the recap: Miramax has secured US distribution rights to the film, as reported by indieWIRE and The Hollywood Reporter. The deal was finalized Saturday morning in Toronto.

In his indieWIRE item, Eugene Hernandez says that Blindness has been shooting locally in Toronto before moving to Brazil. He reports Miramax's description, which adds a positive phrase to the otherwise dire premise: "A small group of the afflicted band together to triumphantly overcome the horrific conditions of their imposed quarantine." Well, that's certainly more cheery, isn't it? With so many fall/festival films described as depressing and dark, perhaps Miramax wants to set Blindness apart as more upbeat, though still serious fare. Will they change the title to Temporary Blindness?

All kidding aside, the dynamic and talented creative combination of Meirelles (City of God, The Constant Gardener), McKellar, and that cast sounds irresistible. The purchase price was $5 million, according to Gregg Goldstein in his Hollywood Reporter story. If you can read Portuguese, you can follow along at the director's blog. Maybe we'll see the completed film next year at Toronto?

Perhaps the only thing I love about the fact Crash won Best Picture is that it now affords us the not-so-rare chance to see the cultural classes trudge into the familiar 'circular firing squad' formation they snap into so reflexively just before cutting each other to ribbons. Depending on who you talk to, Brokeback Mountain didn't win because the Academy is a bunch of homophobes. Or, Crash won because the Academy wanted to pay attention to a film that talked about the real problems of racism as opposed to the boutique, bourgeois concern of homosexual civil rights. (Which, to digress, is why right-wing cultural commentators have it so easy: Because their potential opposition is busy fighting each other to death instead of closing ranks and challenging the dimwit, hateful, leaden screeches of well-funded idiots like Ann Coulter.)

Or, it was because Crash had showy parts for actors, who comprise the biggest part of the Academy's voting blocks, and it was set and made in L.A., and that put it over the top. Or over-hype for Brokeback poisoned the film's own chances. Or Lionsgate pulled a Miramax and, by spending $4 million dollars to send DVDs out to SAG and Academy voters, threw the vote by wielding the money stick and appealing to convenience-minded Academy voters, who could watch Crash at home without slumming among, you know, moviegoers – even as poor Jake Gyllenhaal was forced to mouth Oscar-night platitudes about how You gots to go see movies in the theater, folks! The truth may not be out there, but the weary conspiracy theories are.

So, progressively-minded culture watchers face off like the Jets and Sharks, accusing each other of ignoring homophobia or ignoring racism. Which is hi-larious to me; when asked by a friend for a quick take on Best Picture, I offered that "Well, I guess the Academy chose to honor a film that's not really about racism over a film that's not really about gay rights. ..."

Dustin Hoffman cruises up to present the award for Best Adapted Screenplay, looking cool. He hasn't changed at all. He must have gotten into Dick Clark's secret youth potion. He gives some props to the losers, which probably doesn't really help make them feel better. But thanks anyhow. If Brokeback wins this it probably won't win Best Picture. The nominees are:

Larry McMurtry and Diana Ossana, Brokeback Mountain
Dan Futterman, Capote
Jeffrey Caine, The Constant Gardener
Josh Olson, A History of Violence
Tony Kushner and Eric Roth, Munich

Let's see who the winner is...

Yup, it's Brokeback Mountain. This is the second minor award for Brokeback Mountain. Annie Proulx is there, but the stupid cameraman pans to Ang Lee instead of her. Okay, so either Brokeback is going to pull a Return of the King and sweep everything -- or it's gonna get shut out on Best Picture and Best Director.  If Crash wins Best Original Screenplay it could still be a toss-up. Munich is getting totally shut out so far - not a good night for Spielberg.