Farhad Samji switches gears; writes screenplay and dialogues for film adaptation of Safed Khaki; based on police inspector Subhash Shinde and his cricket achievements

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Farhad Samji is known for directing mass-appealing and often comical films like Bachchhan Paandey (2022), Kisi Ka Bhai Kisi Ki Jaan (2023), Housefull 4 (2019), etc. and writing (along with brother Sajid) memorable films like Singham (2011), Bol Bachchan (2012), Housefull 2 (2012), Chennai Express (2013), etc. However, with his next project, he is all set to switch genres. It has come to light that Farhad has written a film on Senior Inspector Subhash Shinde who contributed to cricket. The film in question is an adaptation of the book 'Safed Khaki' written by Atharwa Shinde, daughter of Subhash Shinde. In an interview to Mid-Day in November 2025, she revealed that Nishikant Kamat of Mumbai Meri Jaan (2008) and Drishyam (2015) fame was impressed by the story and wanted to make a film at one point. But the project was stalled after his demise in 2020. But later, Farhad Samji came on board and he, along with Piyush Singh, has now written the screenplay and dialogues. Atharwa told...
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A Prince review – queer erotic drama of sexual enlightenment through … gardening

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Pierre Creton’s literary film is about the carnal blossoming of a gardener’s apprentice under the tutelage of a series of older men

This latest film from artist, film-maker, and farmer Pierre Creton evokes a tradition in French erotica in which a youthful protagonist has a series of encounters, providing carnal knowledge and sexual enlightenment as well as intellectual revelation. A Prince follows gardener’s apprentice Pierre-Joseph (Antoine Pirotte), whose love for nature leads him into the arms of two older lovers: Alberto (Vincent Barré), his botany school teacher, and Adrien (Pierre Barray), his employer.

Its literary feel is enhanced by the prioritisation of voiceover above dialogue. The characters’ inner monologues speak, often retrospectively, of transgressive erotic experiences and desires. Accounts of incestuous yearnings are laid over scenes of gardening or age-gap lovemaking, all shot in the same strikingly matter-of-fact fashion. The contrast between the provocative voiceover and the naturalistic cinematography is notable in itself, conveying a resistance to the politics of queer assimilation, which courts acceptance from the heterosexual majority.

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