rain

Forecasters warn more flooding, landslides expected as tens of thousands of people are evacuated from their homes.

Authorities in Vietnam say at least 41 people have been killed in a barrage of torrential rain, flooding and landslides, as rescue crews worked to save stranded people from the rooftops of submerged homes.

Rainfall exceeded 150cm (60 inches) over the past three days in several parts of central Vietnam, a region home to a key coffee production belt and the country’s most popular beaches.

At least 41 people have been killed across six provinces since Sunday, while the search was continuing for nine others, the environment ministry said on Thursday.

More than 52,000 houses were flooded, and nearly 62,000 people were evacuated from their homes, while several major roads remained blocked due to landslides, and one million customers were left without electricity.

A suspension bridge on the Da Nhim River in Lam Dong province was swept away on Thursday morning, the VietnamNet newspaper reported.

Photos taken by the AFP news agency also showed hundreds of cars underwater as flooding inundated entire city blocks in Nha Trang, a popular tourist spot on the coast.

Local business owner Bui Quoc Vinh said his ground-floor restaurants and shops were under about a metre (3.2 feet) of water in the city.

“I am worried about our furniture in my restaurants and shops, but of course I cannot do anything now,” he told AFP.

“I don’t think the water is going to recede soon, as the rain has not stopped.”

The national weather forecast agency has warned of more flooding and landslides on Friday, with heavy rain set to continue in the region.

Deputy Prime Minister Ho Quoc Dung told the leaders of three flood-affected provinces – Khanh Hoa, Dak Lak and Gia Lai – to mobilise the army, police and other security forces to “promptly relocate and evacuate people” to safe areas, according to a government statement.

Meanwhile, state media reported that rescuers using boats in Gia Lai and Dak Lak pried open windows and broke through roofs to assist residents stranded by high water on Wednesday.

Photographs shared in state media reports showed residents, including children, sitting on the roofs of flooded houses and calling for help via social media platforms.

“Any group out there please help! We’ve been sitting on the roof since 10pm last night, including kids and adults,” a resident of Khanh Hoa province posted on a local Facebook page.

Natural disasters have left 279 people dead or missing in Vietnam and caused more than $2bn in damage between January and October, according to the national statistics office.

The Southeast Asian nation is prone to heavy rain between June and September, but experts say the climate crisis has made extreme weather events more frequent and destructive.

Shortly before Monday afternoon’s City Section Division I quarterfinal football game between host Eagle Rock and Dorsey was set to begin in the pouring rain, referee Patrick Riley ruled the middle of the grass field unsafe.

City Section Commissioner Vicky Lagos was in attendance and acted quickly to get the contest, scheduled to begin at 4 p.m., moved to an alternate site, which turned out to be Contreras Learning Complex — seven and a half miles away in downtown Los Angeles. When all was said and done, Dorsey moved on to the semifinals after a dominant 26-0 shutout.

“When the referees ruled the field unplayable we immediately called Sotomayor and Contreras because they have turf fields and are the closest in proximity to Eagle Rock,” Lagos said. “We had to arrange busing and we’re thankful to the officials — it was the same crew that was going to do the game Friday. If we couldn’t find a facility [today] then we would’ve had to play the game tomorrow.”

The game was supposed to be played Friday night along with the full slate of City Section contests, but it was postponed until Monday afternoon after a transformer problem left the school without power.

Dorsey wide receiver Stafon Johnson runs with the ball during a City Section Division I playoff win over Eagle Rock on Monday night.

(Craig Weston)

“We were told at 3:45 that we weren’t going to be able to play,” said Dorsey coach Stafon Johnson, a Dorsey alum who played at USC from 2006-09. My main concern at that point was whichever team wins would have a short turnaround for the next game.”

When the game finally kicked off at 6:45 p.m. the rain was still pouring. Eleventh-seeded Dorsey controlled the tempo from the start, marching 65 yards in five plays on its first possession, which ended on a five-yard run by Mahkai McCluster.

Nathan Schiebler fumbled on the second play of Eagle Rock’s first possession and defensive lineman Draysean Mixson recovered for Dorsey at the Eagles’ 47. Jamell Edmond capped the Dons’ ensuing drive with an 11-yard sweep and Deuce Johnson caught the two-point conversion pass to make it 14-0 late in the first quarter.

“We were ready to get down and dirty in the mud,” Dorsey quarterback Elijah McDaniel said after rushing for 120 yards and engineering all four of his team’s scoring drives. “We wanted to play [at Eagle Rock]. We wanted to play Friday even but the longer we had to wait the more time it gave us to prepare.”

Liam Pasten, one of the best passers in the City, completed only three of seven attempts for 22 yards in the first half and finished seven for 24 for 53 yards. Even as the rain subsided in the second half, the third-seeded Eagles (8-4) could not get their offense on track.

“I had 100% attendance at practice Saturday in the rain,” Johnson said. “This is the first time all year we’ve been fully loaded. This is Jamell’s first game back and he made a significant impact. That team averages over 40 points a game and we give them full credit. We just wanted to play … we didn’t care where it was.”

Edmond finished with 87 yards in 10 carries.

De Anthony Young-Jones scored on a two-yard run to increase the lead to 20-0 late in the third quarter and Jaziel Hernandez-Cruz closed the scoring with a one-yard run with 3:48 left in the fourth quarter. The 11th-seeded Dons (7-5) will be on the road again in the semifinals against No. 2 South Gate, a game that has been pushed back to Saturday.

Eagle Rock players did not get a chance to play one last time at Don Mengel Field. In February, construction is scheduled to begin on the school’s new synthetic turf field, eight-lane rubber track and scoreboard.

Camp Flog Gnaw is being postponed because of the rain in Los Angeles.

The annual music festival presented by Tyler, the Creator — which was supposed to take place this weekend on the grounds surrounding Dodger Stadium — will now happen Nov. 22 and 23 in the same location.

“Due to the fact this storm became an atmospheric rain torrential downpour we had 2 choices — cancel or move to next weekend,” Tyler said in a post on Instagram. “We chose the latter.”

The rapper, who last week was nominated for five Grammy Awards including album of the year for “Chromakopia,” added, “We understand this is not ideal so we will offer refunds.”

The show as rescheduled will feature a slightly pared-down lineup that includes performances by Tyler, ASAP Rocky, Doechii, Clipse, Childish Gambino, Earl Sweatshirt, T-Pain and others. Among the acts who dropped off the bill are Tems, Clairo, Sombr and Don Toliver.

Tyler launched Camp Flog Gnaw in 2012 as a one-day event at downtown’s Club Nokia (now known as the Novo). The festival expanded to two days in 2016 and moved to Dodger Stadium in 2018. Flog Gnaw is known for its eclectic booking and a carnival-like atmosphere complete with games, rides and funnel cakes. Performers at the festival’s 2024 edition included Tyler, Playboi Carti, Doechii, Vince Staples, Omar Apollo and André 3000.

This weekend’s storm is expected to bring heavy rain to Southern California and has triggered fears about flooding and mudslides, particularly in areas burned in this year’s destructive wildfires. A live taping of Will Arnett, Jason Bateman and Sean Hayes’ ”SmartLess” podcast scheduled for Saturday night at the Hollywood Bowl was also called off because of weather.

The makeshift homes of displaced Palestinians in Gaza have been flooded by heavy rainfall, as millions prepare for winter in the enclave without adequate shelter or relief.

With heavy rain expected this weekend, the chance for high school football players in Los Angeles to run, tackle and enjoy playing in the mud is more than possible. There’s eight City Section teams hosting playoff games Friday night with grass fields that have little grass left.

That means fun times ahead.

“It’s not going to be pretty,” Venice coach Angelo Gasca said of his field’s condition for a game against Franklin.

The coaches might not like mud, but Gasca said his players are excited.

“Everyone is looking forward to it,” Gasca said.

San Pedro, Venice, Eagle Rock, Cleveland, San Fernando, Santee, Jefferson and Wilson have either not changed their fields into all-weather turf or chose to keep grass. Eagle Rock next season is switching to all-weather, so coach Andy Moran might have a final home game in the mud against Dorsey.

San Pedro lost to Eagle Rock in the rain in 2022. Pirates coach Corey Walsh has not forgotten. He prepared with wet footballs in practice this week for Friday’s game against Crenshaw.

“We’re super excited,” he said.

The people who aren’t excited are the bus drivers who will have to clean their buses; fans who will break out umbrellas, plastic hats and boots; parents who will have to clean uniforms; sportswriters trying to keep stats with no covering.

Yes, Southern California is not used to playing high school football in the rain. One of the most famous games was Servite beating Edison 16-6 in the 2009 Pac-5 championship game at Angels Stadium. The lead sentence in the Los Angeles Times story was, “Playing in conditions more suitable for sea gulls and ducks.”

Look for ducks and mud on Friday night.

It’s the one-two punch of an earthquake and a piece of scrumptious white chocolate from Belgium, a country famous for its sweet confections, that awakens 2½-year-old Amélie (voiced by Loïse Charpentier) to the wondrous and perilous world around her.

Rambunctious and astute, the toddler heroine of the sublimely beautiful animated film “Little Amélie or the Character of Rain” first communicates in voiceover from the void of nothingness before birth. She declares herself a powerful deity and explains that God is essentially a “tube” that constantly ingests and secretes experiences and things. That description could also apply to human existence in a general sense if you take away the philosophical complications that give us meaning. (We are, thankfully, more than all-consuming vessels.)

But until she’s stirred by the earthquake and chocolate, Amélie refuses to engage with reality, observing without making any effort to move or talk, as if displeased with having been born. Her absolutist views of what it means to be alive slowly peel away in the life-affirming first feature from co-directors Liane-Cho Han and Maïlys Vallade, a screen adaptation of Amélie Nothomb’s autobiographical 2000 novel “The Character of Rain,” popular in French-speaking countries.

Akin to impressionistic paintings, the animation here decidedly lacks intricate designs and opts for flat hues coloring figures without visible outlines. The stylistic choices result in a striking, distinctly pictorial aesthetic in line with earlier projects that Han and Vallade worked on, such as “Long Way North” and “Calamity,” both directed by Rémi Chayé.

The third child of a Belgian family living in 1960s Japan, young Amélie develops an endearing relationship with housekeeper Nishio-san (Victoria Grobois). While her parents have their hands full with her older siblings, Amélie explores nature and becomes enamored with Japanese culture. That the affectionate Nishio-san doesn’t impose her perspective on the girl, but quite literally tries to perceive each moment from her height, signals a bond that’s closer to one between mutuals.

It’s through Amélie’s gaze — or, more precisely, how these filmmakers interpret it visually — that we begin to understand her invigorating whimsy. Early on, it seems like her rapidly changing moods affect the weather; later, Amélie steps into the ocean and it parts as it did for Moses (if only in her restless imagination). A person her age is inherently self-centered, unaware that she is part of a bigger whole.

To illustrate Nishio-san’s account of how she lost her family during World War II, animators Han and Vallade zero in on the dish she is cooking: Chopped vegetables fall into a pot like missiles, a gust of pot steam represents a fiery aftermath, rice under water shows how Nishio-san had to dig her way out of being buried alive. The gruesome subject matter is translated into immediate household imagery that someone Amélie’s age could grasp.

When Nishio-san shares with Amélie that the Japanese word “ame” means rain (so close to her own name), the girl takes this as confirmation that her kinetic, unbridled and visceral impulses are natural. Her feelings of kinship with precipitation are transmuted into a delightfully conceived scene in which little versions of Amélie appear inside every falling raindrop. These fanciful instances benefit from Mari Fukuhara’s score, a drizzle of aural luminosity.

Amélie’s rowdy approach becomes more nuanced when she is confronted with a loved one’s death, as well as her own mortality in the aftermath of two accidents. Han and Vallade also make room for her realizations about life’s unfairness and the inevitability of sorrow — all communicated via flights of fancy that only animation can materialize.

In turn, it comes as a shock for Amélie to learn that she is not Japanese, even if that’s the country she considers home. Her future may be determined by Kashima-san (Yumi Fujimori), the landlady who owns the house Amélie’s family is renting and who brought Nishio-san on to help them. Kashima-san distrusts westerners — her wounds of wartime haven’t healed — and to see Nishio-san smitten with Amélie feels like a betrayal.

The larger implications of her presence escape the little one, but the fact that Amélie, even at her age, is able to empathize with Kashima-san’s despair speaks to the thematic richness and emotional maturity that Han and Vallade channel in their brisk, arresting feature. The gently transcendent, tear-inducing conclusion that “Little Amélie” reaches suggests that memory serves as our only remedy for loss. As long as we don’t forget, what we cherish won’t become ephemeral.