Aamir Khan and R Madhavan deny being approached for 3 Idiots sequel: "It also sounds far-fetched"

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Of late, the internet is afire with reports on Rajlumar Hirani’s 3 Idiots acquiring a sequel. When this writer approached the two principal players in 3 Idiots Aamir Khan and R Madhavan they individually declared they had no clue of this development. Said Madhavan, “A sequel to 3 Idiots sounds great. But it also sounds far-fetched. All three of us Aamir Khan, Sharman Joshi and I are much older now. Where do we go in the sequel? What are our lives like now? It is an interesting thought. But hardly conducive to a proper sequel. I would love to work with Raju Hirani again. But 3 Idiots again? I think that would be idiotic.” Aamir Khan said that he is delighted by the thought of sequel to 3 Idiots. “We had so much fun making that film! My character Rancho is the most popular character I’ve played. People still talk about Rancho. So yeah, I’d love to do a sequel. But no one has approached me.” One hopes this puts an end to the endless speculation on a sequel to a ...
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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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