Keith David on his incredible career: ‘I want you to understand Black men as full-scope human beings’

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The hard-working character actor has over 400 screen credits, from The Thing to Platoon to Rick and Morty, and he isn’t slowing down any time soon Keith David’s voice precedes him. Deep and resonant, with mellifluous notes that hark back to his boys’ choir days, it has spent decades inhabiting warriors, gods, rogues, fathers and a welter of cartoon oddballs. Before David appears in a Zoom window from his Los Angeles home office, his voice reverberates through my tinny laptop speakers like a foghorn. “Can you see me now?” he booms once our connection is established after fits and starts. “OK. Outside of technology, you know I’m … OK.” He fizzes about the project he just wrapped: a dark buddy comedy called My Friend Jim, in which he stars opposite Rob Lowe. It’s the latest entry in a seemingly unstinting slew of productions that have kept him booked and busy since the late 1970s, from The Thing to Platoon to There’s Something About Mary to Nope. Continue reading... from Film | The Gua...
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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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