“You were my princess, my muse. The reason every Knight needs to get on his horse…”
You don’t immediately notice how extraordinary Peter Luisi’s Princess is in the initial minutes of its runtime. Josef (Fabian Kruger) is an alcoholic man carrying out a solitary sentence of his own choosing – his eyes display tremendous sorrow of a terrible past as he spends his days drinking and his hands quiver as he incoherently rambles to assure himself that he’s doing well. Interrupting these string of nights is the arrival of Josef’s half sister Karin, a single mother working tirelessly to provide for her four year old daughter and who comes bearing the news of their mother’s death. With Karin struggling with her finances and nowhere else to turn to, Josef reluctantly agrees to let them move into the same building, maintaining a cautious distance from his new neighbors.
The moments of greatness don’t begin to register up until a few scenes later, when Josef catches a glimpse of his niece, Nina— he engages in a distant and playful game of hide and seek with her, entranced by her playful demeanor and her resemblance to his sister. In an immediate instance, a character who seemed far too repulsive and negligent now contains an inexplicable sense of growth and purpose that viewers will not fully comprehend yet. It’s a simple scene that’s both masterful and incredibly poignant, and it’s this beauty in simplicity and innocence that allows Princess to truly thrive as circumstances lead to Josef losing contact with the child and then seeking her out again thirty-five years later.
Princess, both in its composition and delicate execution, is another feather in Peter Luisi’s cap. The Zurich based filmmaker, whose career has spanned over two decades, helms the film as both a writer and a director, crafting a nuanced and emotionally resonant tale about cyclical patterns, haunting pasts, fatherhood, and the transformative power of love to compel even the most broken of men to gain a renewed lease on life. The film has a virtual screening at the New Jersey Film Festival on Friday, February 4th, and may be rented and viewed on demand all day.
To say that Princess is a gorgeous film would be an understatement – each frame is more aesthetically pleasing than the last, and when coupled with the superb background score and heartfelt instrumentals, it is a truly wonderful cinematic experience. Luisi approaches the subject matter of the film with impeccable subtly and with a technical prowess that’s become a rarity in mainstream and independent cinema today. Luisi’s cinematographer utilizes a color palette of blue and green as Josef and Nina’s relationship germinates, and as a tragedy comes to unfold, the blossoming impact of their time together on Josef is evident by the variation in the camerawork.
Additionally, the performances of Princess are simply outstanding. Both Kruger and Matthias Habich (who essay the middle aged and elderly Josef, respectively) conjure deeply profound and intimate performances of breathtaking craft, gently luring you into the depths of longing and pain that Josef experiences through the course of the film. The duality they imbue the protagonist with, as well as their complementary portrayals, are truly commendable. Josef is, in many regards, a passive protagonist and an unconventional leading man for a story – a man refusing to compromise on his habits and reform his act until something or someone propels him to. It’s an immensely believable and grounded performance, and it provides the perfect service to the poetic storyline as the film explores themes such as addiction and unconditional love and affection. In equal footing with Kruger and Habich are Tina Perger and Johanna Bantzer as the four year old and adult Nina, respectively. While the young Nina is a delicate wallflower blooming out of concrete, brimming with optimism and pure innocence, Bantzer’s Nina is a dispirited woman battling drug addiction. The parallels are emotionally wrenching and Luisi’s direction is exquisite as the film nears its most dramatic moments.
In its entirety, Princess is equal parts about the difference of someone being present and the moments of stillness and voidness that provide a rude awakening in the departure of that presence with the passage of time. For its meditative nature, stellar direction, and excellent performances, Princess demands a viewing. It’s a film that’s better left experienced than simply read about, and it’s certainly a film that will be remembered for years to come!
Princess screens at the Spring 2022 New Jersey Film Festival on February 4! To buy tickets click here.
The New Jersey Film Festival Spring 2022 will be taking place on select Fridays, Saturdays, and Sundays between January 28 and February 20, 2022. As a result of COVID our Festival will be a virtual one again this Spring. All the films will be available virtually via Video on Demand for 24 hours on their show date. More info is available here: https://newjerseyfilmfestivalspring2022.eventive.org/welcome
