Ronny Sianturi
The 70th edition of the BFI London Film Festival serves as the global stage for the world premiere of Prince, a cinematic and absurdist black comedy that marks the solo feature-film debut of Uruguayan director and screenwriter Federico Borgia. Set against the fading, sun-bleached seaside luxury of Punta del Este, the film examines the intersection of high society, domestic servitude, and human greed through an inheritance dispute where the primary beneficiary is a pedigreed Afghan hound. Co-produced by Uruguay and Argentina and featuring international sales representation by Alpha Violet, the picture blends stylized aesthetics with biting social commentary.
At its core, Prince revolves around an unconventional domestic setup that dissolves into a claustrophobic pressure cooker following a sudden tragedy. The narrative features an ensemble cast including Roberto Suárez, recognized for his work in The Saint, alongside Maitina De Marco and Esteban Bigliardi, both of whom previously appeared in 27 Nights. The feature-length project represents a significant career milestone for Borgia, who previously co-directed Clever in 2015 and The Champion of the World in 2019 alongside collaborator Guillermo Madeiro.
Chronology and Narrative Genesis
The development of Prince spans years of observation, personal transition, and childhood memories that gradually coalesced into a script exploring socioeconomic stratification. The conceptual framework for the film began to take shape when Borgia relocated from Montevideo to Punta del Este, a well-known Uruguayan coastal resort town characterized by distinct economic divides. This geographic shift immersed the filmmaker in an environment where working-class service providers and affluent clientele constantly interact against a backdrop of coastal glamour and underlying economic decay.
Borgia’s fascination with the specific aesthetic surrounding show dogs, however, dates back much further. At age ten, the director received a dog of his own and frequently accompanied his mother to a local grooming establishment. While his childhood pet never participated in competitive circuits, the groomer’s shop walls featured photographs of formal dog shows populated by handlers dressed in sharp business suits. These images planted an early seed of curiosity regarding the subculture of competitive breeding, an element that eventually merged with a fictional narrative concerning disputed estates and wealth accumulation.
The resulting plot details the life of Jaime, portrayed by Roberto Suárez, a former romantic partner who transitioned into a live-in butler for Isabel, an affluent Argentine woman played by Maitina De Marco. Having shared an expansive coastal villa for two decades, their existence follows a peculiar routine centered primarily on Isabel’s prize-winning Afghan hound, the titular Prince. When Isabel drowns unexpectedly in her swimming pool, the reading of her final testament reveals an absurd legal condition: the entirety of her luxury estate is bequeathed directly to the dog, with Jaime appointed as legal guardian. Consequently, Isabel’s estranged human relatives are legally barred from claiming the property until the animal passes away.
Production Dynamics and Character Development
The arrival of Isabel’s estranged son and granddaughter at the villa initiates a tense power struggle aimed at ousting the canine heir. Simultaneously, Jaime is forced to confront his own estranged son, Diego, unearthing buried family history and personal regrets. This convergence of avarice, class friction, and unresolved familial trauma transforms the sprawling estate into a pressure cooker of psychological tension.
Describing the protagonist’s unique social positioning, Borgia highlights the deliberate ambiguity built into Jaime’s character arc. Straddling the line between employee, romantic partner, and trusted companion, Jaime occupies an undefined space within the household hierarchy. This structural indeterminacy allows the film to examine broader interpersonal bonds and systemic power imbalances within domestic service relationships.
Casting the production required a dual approach that combined targeted outreach to established theater veterans with open auditions for lesser-known talent. Securing Roberto Suárez for the role of Jaime fulfilled a long-held ambition for the director. Beyond his performance on screen, Suárez contributed actively to the creative process during script revisions, offering insights that shaped the final cinematic output. Meanwhile, casting efforts in Argentina utilized traditional auditions, talent scouting, and film analysis to assemble a supporting ensemble capable of delivering the film’s deadpan comedic tone.
Working with an Animal Co-Star
Logistical challenges frequently arise when incorporating live animals into feature-length productions, particularly species renowned for independent behavior. Yet, according to the director, the titular Afghan hound performed impeccably throughout the principal photography schedule. Despite internet research indicating that Afghan hounds rank exceptionally low in canine trainability compared to breeds like Border Collies or German Shepherds, the production team successfully sourced an animal with an unusually placid temperament.
During pre-production, Borgia consulted an owner who lived with eight Afghan hounds, gaining valuable insight into the breed’s distinct psychological profile. The owner identified a young dog within his pack that defied breed stereotypes, behaving more like a social, calm Labrador Retriever trapped in an Afghan hound’s frame. The only notable incident during the entire shoot occurred when the canine actor accidentally tumbled into the villa’s swimming pool, requiring a two-hour drying session before filming could resume.
Socioeconomic Themes and International Reception
Although rooted in the specific geographical and cultural context of the Uruguayan coastline, the narrative themes explored in Prince are designed to resonate universally. The interplay between generational wealth, domestic labor, and the commodification of affection serves as a commentary on contemporary class dynamics that transcend South American borders. By framing avarice through the lens of a kitsch comedy, the production maintains a delicate tonal balance between absurdity and genuine emotional stakes.
Industry analysts note that international festival appearances, particularly at prominent European events like the BFI London Film Festival, provide Latin American co-productions with vital exposure to global distributors and arthouse audiences. With Alpha Violet managing international sales, the film enters the global marketplace positioned as a distinctive artistic statement from an emerging solo voice in South American cinema.
When questioned about his future creative endeavors following the completion of the film, Borgia admitted to a familiar post-production uncertainty while acknowledging the enduring compulsion to create. Describing filmmaking as an inescapable cycle of creative exhaustion and renewal, the director indicated that despite the rigorous demands of independent production, the urge to investigate new stories will inevitably draw him back to the director’s chair.
