Age: 52
female
Neve Adrianne Campbell (born October 3, 1973) is a Canadian actress. After working in Canadian and American television, Campbell emerged as a scream queen for her starring roles in horror and thriller films. She has also appeared in blockbusters and independent features. Following a series of minor credits, Campbell had a starring role in the drama series Catwalk (1992–1993) and the television film The Canterville Ghost (1996). She subsequently relocated to the United States to star as Julia Salinger in the Fox teen drama series Party of Five (1994–2000), which became her breakthrough role. She rose to international prominence for her leading role as Sidney Prescott in Wes Craven's slasher film Scream (1996), which spawned the Scream franchise, in which she reprised her role in each film except the sixth. She also headlined the horror film The Craft (1996), the thriller film Wild Things (1998), and the drama film Panic (2000). Campbell starred in, produced, and wrote the story for Robert Altman's drama film The Company (2003). After a hiatus, she returned to television with a recurring role on the drama series Medium (2007) and starring roles on the action series The Philanthropist (2009) and the miniseries Titanic: Blood and Steel (2012). She appeared in the action film Skyscraper (2018). The drama film Clouds (2020), and had starring roles on the political thriller series House of Cards (2016–2017) and the crime drama series The Lincoln Lawyer (2022–present).
Amidst a wild flat meadow encircled by an Edenic lush forest, a couple have cocooned themselves in a secluded mansion that was not so long ago burned to the ground, devotedly restored by the supportive wife. Within this safe environment, the once famous middle-aged poet husband is desirous of creating his magnum opus; however, he seems unable to break out of the persistent creative rut that haunts him. Then, unexpectedly, a knock at the door, the sudden arrival of a cryptic late-night visitor and his intrusive wife will stimulate the writer's stagnant imagination. Little by little, much to the perplexed wife's surprise, the more chaos he lets in their haven, the better for his punctured male ego. In the end, will this incremental mess blemish, irreparably, the couple's inviolable sanctuary?
