‘My disability is the least interesting thing about me’: Actor Adam Pearson on fame, film and his sibling rivalry

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Actor Adam Pearson feels disfigurement onscreen is often presented as a problem. He sees it very differently. He talks about karaoke in Croydon, rivalry with his twin, Oscar ambitions – and why his mum refuses to believe he’s famous Adam Pearson has a longstanding argument with his mother, Marilyn, about how well-known he is. The tension is most likely to surface when they are at home in Croydon and Marilyn asks the 39-year-old actor to do some menial household chore. For example: “We’ve recently put up a new shed, and tomorrow morning I’ve got to carry all the heavy stuff down to it,” says Pearson, with a weary shake of his head. “There’s literally a bag of cement. I said to her, ‘Why have we got a bag of cement?’ And she said, ‘We might need it one day.’ Fine! What day are we going to wake up and be like, ‘Oh, thank God we kept that bag of cement!’” So, a do-you-know-who-I-am moment then? Continue reading... from Film | The Guardian https://ift.tt/iS7kGz1 via IFTTT
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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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