EXCLUSIVE: Bhooth Bangla team contemplates postponing release from April 10 to April 17 due to Dhurandhar The Revenge wave

Dhurandhar The Revenge is doing record business and the way it has held strongly on Monday proves that the film will not lose its hold even in the weekdays. As a result, the team of Bhooth Bangla have begun contemplating whether they should bring the horror comedy on April 10 or whether it should be postponed by a week.” “A source told Bollywood Hungama, “The way Dhurandhar The Revenge is performing, it is clear that the craze is not going to die down anytime soon. Bhooth Bangla also looks like an exciting film. But since Dhurandhar 2 is doing historic business, there’s a strong possibility that it could perform exceptionally well even in its fourth week, which coincides with the release of Bhooth Bangla. Meanwhile, there’s no Hindi film currently scheduled for release on April 17.” The source added, “At the same time, Dhurandhar The Revenge would have exhausted most of its business by the end of four weeks. Hence, it could also work in Bhooth Bangla’s favour to arrive on April 10, b...

A Prince review – queer erotic drama of sexual enlightenment through … gardening

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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