Stoker, which is heading to Sundance, is just the latest entry on Kidman’s indie résumé.
'The Portrait of a Lady' (1996)
Working for Jane Campion in this Henry James adaptation of a lonely American heiress abroad, Kidman showed that she could be more than the pretty girl standing next to Batman’s car.
'Birthday Girl' (2001)
Taking her uncanny gift for accents out for an early stroll, Kidman indulged her dark side to play a Russian mail-order bride who proves to be the very opposite of a gift for her unlucky intended (Ben Chaplin).
Kidman surrendered to the unforgiving genius of Danish filmmaker Lars von Trier and helped him deliver a harsh portrait of poverty, subjugation and social conformity — all while revealing herself to be an actor of uncommon power.
'The Human Stain' (2003)
Sinking her teeth into the Philip Roth text — OK, it was adapted from his novel — Kidman plays a housekeeper who helps a secretive, disgraced professor (Anthony Hopkins) get his groove back.
Reincarnation is a bitch for Kidman’s Anna, who must contend with the realization that a 10-year-old could be her late husband, born again. What could be played as horror instead has a delicate mournfulness.
'Fur: An Imaginary Portrait of Diane Arbus' (2006)
Kidman delivers a tender, yearning performance as Arbus, a photographer who lived her life on the inside until she found her voice by shooting those who existed on society’s fringes.
'Margot at the Wedding' (2007)
Written and directed by Noah Baumbach, this dark pseudo-comedy casts Kidman as a woman who levels the impeding nuptials of her sister (Jennifer Jason Leigh) with an avalanche of not-so- timely neuroses.
In her first musical since Moulin Rouge!, Kidman joined Rob Marshall’s ensemble cast — all assembled to tell the story of an Italian filmmaker (Daniel Day-Lewis) suffering from writer’s block and the women who help him beat it.
'Rabbit Hole' (2010)
Kidman got her second Oscar nomination for her performance as a mother who lost her only child in a horrific accident but refuses to pick up the pieces and would rather pretend the pieces didn’t exist in the first place.
'The Paperboy' (2012)
Channeling her inner firebrand for this ’60s hot-house drama, Kidman went to places most actresses wouldn’t dare go for Lee Daniels, shooting scenes with brutal sexual content and defecation without blinking an eye.
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