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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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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