Heartstopper Forever review – sanitized sex scenes won’t let the Netflix lovebirds grow up

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The film-length finale to the teen LGBTQ+ show has poignant moments but feels like fan service by numbers If it were up to Kit Connor , Heartstopper would have ended quite differently. “If I’d had my way, I would have had Nick and Charlie cheating on each other and doing all those stupid things,” he recently told the Guardian. “Because young people do that and don’t necessarily need to be villainized for it.” Midway through Heartstopper Forever , the film-length finale of Netflix’s series, I started to see his point. The central star-crossed lovebirds of Alice Oceman’s megahit are now 18 and 17, and like most teenagers they have sex, get drunk and fight with their annoying siblings. Unlike most people their age, they don’t vape, don’t use sex apps and they definitely don’t cheat. Continue reading... from Film | The Guardian https://ift.tt/7iRZGVx 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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