Rosa von Praunheim, provocative pioneer of gay cinema, dies aged 83

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The film-maker, whose 1971 feature about queer life has been described as Germany’s ‘Stonewall moment’, married his long-term partner on Friday Rosa von Praunheim, a key figure of the New German Cinema movement who made taboo-breaking films about queer life and scandalised the country when he outed German celebrities on live TV, has died aged 83. German media reported that Praunheim died in Berlin in the early hours of Wednesday morning, just days after marrying his long-term partner at a ceremony in the German capital on Friday. Continue reading... from Film | The Guardian https://ift.tt/kqLpouT via IFTTT
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‘Life can be complicated’: Rachel Weisz on balancing privacy with stardom

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Her latest TV series calls for her to play both twins in a reworking of Cronenberg’s dark and bloody classic, Dead Ringers. But Rachel Weisz, the famously private Oscar-winner, is used to stepping in and out of roles

There’s quite a lot of blood. There’s really quite a lot of blood in Dead Ringers, but it’s not the blood of bullet holes or stab wounds, or any of the other violences one might expect in a dark psychological thriller like this. It’s blood on knickers and operating tables, and smeared on silk shirts, and the blood as a baby’s head crowns – the bloods of birth and loss, guttural screams, and in the middle of it all, Rachel Weisz, twice.

In David Cronenberg’s original 1988 film, a grisly examination of the relationship between the physical and mental self, Jeremy Irons played twin gynaecologists whose dubious ethics led to all manner of horrors. In this gender-swapped adaptation, in which Weisz stars and exec-produced, she plays those twins identical in every way but character. Dr Beverly Mantle is the shy moral introvert, whose love affair with a patient triggers a psychic unravelling between the sisters, while Elliot is a modern mad scientist, hungry for meat, drugs, conflict, godliness, sex. What could come off as a soapy trick, in Weisz’s Oscar-winning hands becomes camply surreal, uncanny, seductive, a little perverse – joy.

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