Nicole Kidman opens up about divorce from Keith Urban – and ‘throwing my career away’ for Tom Cruise

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The 59-year-old actor reflected on her high-profile marriages in an interview with Vogue, saying she felt ‘deeply vulnerable’ after her split from Urban Nicole Kidman has opened up about her divorce from Keith Urban and reflected on her marriage to Tom Cruise, saying she was warned being his wife would overshadow her career. In a new interview with Vogue , the 59-year-old actor spoke about going through two divorces under intense media scrutiny: with Cruise, who she married in 1990 and divorced in 2001, and musician Urban, who she married in 2006. Continue reading... from Film | The Guardian https://ift.tt/XuEzDL5 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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