<?xml version="1.0" encoding="utf-8" standalone="yes"?><rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:content="http://purl.org/rss/1.0/modules/content/"><channel><title>Europe on The CineBlog</title><link>https://thecineblog.com/tags/europe/</link><description>Recent content in Europe on The CineBlog</description><generator>Hugo</generator><language>en-US</language><lastBuildDate>Sat, 29 Aug 2026 22:43:19 -0500</lastBuildDate><atom:link href="https://thecineblog.com/tags/europe/index.xml" rel="self" type="application/rss+xml"/><item><title>Her Private Hell: Stillness as a Dare</title><link>https://thecineblog.com/stories/her-private-hell/</link><pubDate>Thu, 27 Aug 2026 00:00:00 +0000</pubDate><guid>https://thecineblog.com/stories/her-private-hell/</guid><description>&lt;p&gt;Nicolas Winding Refn was clinically dead for twenty-five minutes in 2023, on a table, mid-surgery, with two weeks&amp;rsquo; warning that this might be how it ended. He has said plainly that the idea for &lt;em&gt;Her Private Hell&lt;/em&gt; came when he was dead and came back. I begin there not for the drama but because the origin explains the method, and the method is the story. A director who believed his film career was over returned to features after a decade away and spent his second chance on the least commercial materials available: silence, stillness, a fog-bound artificial city, and a horror plot conducted like opera. Whatever you conclude about the result, nothing in it is an accident of laziness. It is all wagered.&lt;/p&gt;</description></item></channel></rss>