Bafta 2026 film awards longlists hope to avoid #BaftasSoWhite diversity criticism

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With strong showings for Ryan Coogler’s Sinners and target hit for 50% female directors, criticism that has dogged the prizes in recent years may have been headed off For now, the Bafta film awards appears to have headed off further criticism over its long-running diversity crisis after revealing its longlists on Friday. Despite Bafta overhauling its awards voting system in 2020 after claims of “systemic racism” , outrage re-emerged in 2023 after no people of colour won awards . The longlists, which are an intermediate stage on the way to the final nominations with each category determined by different mixes of membership voting and jury selection, suggest that some progress is being made. Continue reading... from Film | The Guardian https://ift.tt/ws6nORV via IFTTT
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Home Sweet Home: Where Evil Lives review – fresh take on pregnant-woman-in-peril horror

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Unfolding in what looks like a single take, Thomas Sieben sends his protagonist into a house that’s haunted by historical trauma

When Maria (Nilam Farooq) shows up 37 weeks pregnant at the attractive but remote country home of her husband Viktor (David Kross), you sense immediately that no good can come of this. If a character is pregnant in a film, it’s about even odds that said pregnancy will function as a way to increase their vulnerability – though not all films take this as far as this nifty little low-budget horror movie from talented German director Thomas Sieben, which combines the haunted house subgenre with pregnant-woman-in-peril to nicely nerve-jangling effect.

Occult horror always needs a starting point, a first evil from which the later ghosties and bumps in the night derive. Some films take as their inciting incident a broader historical crime or atrocity and it’s into this category Home Sweet Home falls. The Herero and Nama genocide, conducted by imperial German forces against indigenous people in what is now Namibia, was the first genocide of the 20th century, and is the basis for subsequent terrors visited upon our heavily pregnant heroine. Paying a price for the actions of previous generations is a big theme in German horror, but by looking to an earlier period than the horrors of the Nazi regime, Sieben reminds us that genocidal white supremacism was not invented in the 1930s.

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