Doomed lovers, high heels and The Odyssey: films to get excited about in 2026

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Margot Robbie busts her corset in Wuthering Heights, the Devil Wears Prada sequel goes fashionably to war, and Christopher Nolan brings us a Greek epic. Plus much more in our pick of the best films coming to UK cinemas this year • More from the 2026 culture preview Jessie Buckley may need to hire a carpenter for the silverware-cabinet she is expected to need for her hugely admired performance in the film based on the Maggie O’Farrell novel. She plays Anne (or Agnes) Hathaway, wife of William Shakespeare, grieving the terrible loss of their 11-year-old son, Hamnet, in 1596, which the story imagines to be a spur to the creation of Shakespeare’s play Hamlet. Paul Mescal plays Shakespeare and Emily Watson his mother, Mary. • 9 January . Continue reading... from Film | The Guardian https://ift.tt/2Qco81I 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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