Marty Supreme review – Timothée Chalamet a smash in spectacular screwball ping-pong nightmare

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Following every dizzying spin of Chalamet’s table tennis hustler, Josh Safdie’s whip-crack comedy serves sensational shots – and a smart return by Gwyneth Paltrow This new film from Josh Safdie has the fanatical energy of a 149-minute ping pong rally carried out by a single player running round and round the table. It’s a marathon sprint of gonzo calamities and uproar, a sociopath-screwball nightmare like something by Mel Brooks – only in place of gags, there are detonations of bad taste, cinephile allusions, alpha cameos, frantic deal-making, racism and antisemitism, sentimental yearning and erotic adventures. It’s a farcical race against time where no one needs to eat or sleep. Timothée Chalamet plays Marty Mauser, a spindly motormouth with the glasses of an intellectual, the moustache of a movie star and the physique of a tiny cartoon character (though that could just be the initials). He’s loosely inspired by Marty “The Needle” Reisman, a real-life US table tennis champ from the ...
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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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