Nicole Kidman opens up about divorce from Keith Urban – and ‘throwing my career away’ for Tom Cruise

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The 59-year-old actor reflected on her high-profile marriages in an interview with Vogue, saying she felt ‘deeply vulnerable’ after her split from Urban Nicole Kidman has opened up about her divorce from Keith Urban and reflected on her marriage to Tom Cruise, saying she was warned being his wife would overshadow her career. In a new interview with Vogue , the 59-year-old actor spoke about going through two divorces under intense media scrutiny: with Cruise, who she married in 1990 and divorced in 2001, and musician Urban, who she married in 2006. Continue reading... from Film | The Guardian https://ift.tt/XuEzDL5 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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