Brenda Fricker obituary

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Actor who was the first Irish woman to win an Oscar for her role in the 1989 film classic My Left Foot Brenda Fricker, who has died aged 81, was only the second Irish actor – and the first female one – to win an Oscar, for her role as Daniel Day-Lewis’s mother in the 1989 film My Left Foot, after shooting to fame in the original cast of the BBC medical drama Casualty. As the nurse Megan Roach, she was the Mother Earth of the fictional Holby City hospital’s A&E department for the programme’s first five series (1986-90). “We knew the show had to have compassion,” said Casualty’s first producer, Geraint Morris . “We made Megan the person everyone could talk to.” Continue reading... from Film | The Guardian https://ift.tt/FexHVzJ 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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