Her name is Princess, she is nineteen and comes from Nigeria. Since she arrived in Italy, she has been a prostitute in the bush that surrounds the streets of the Roman hinterland allowing occasional customers who choose her to call her whatever they wish, to the point that she Princess no longer knows who she is. In the meantime, she searches for herself, she approaches prayer and somehow hopes to recover her life that her job has stolen from her without asking her permission, giving her back the adolescence that she feels she has lost. It is from these premises that the director Roberto De Paolis started to create Princess, the film premiered at the Venice Film Festival and finally in theaters from November 17 with Lucky Red.
To lend the face to the protagonist is the very good GloryKevin, perfect in the role of a young Nigerian illegal immigrant who sells her body to survive, moving in a pine forest that extends to the sea and trying to keep the men who seek and want her at bay until one of them seems different. Princess is convinced that she wants to help her, even if it doesn’t take long for the girl to realize that the only way she can save herself is to rely on herself. One thing that unites her to her preface of her Glory of her, who explained, in her real life, that she had to play the same role as Princess in order to survive.
To make this story of humanity and redemption multifaceted and rich in nuances is the direction of Robert De Paolis which, after the debut with pure hearts, competes with the cinema using the precious collaboration of Nigerian girls who have been trafficked, asking them to interpret themselves. The result is a sincere gaze, far from any form of rhetoric and capable of reaching straight to the heart of the public because it is clear that Princess you tell a latent reality that we very often try not to look at, as if we didn’t know that thousands of foreign girls are forced to live every day between asphalt and brushwood to earn their bread. The human journey that leads Princess from being a piece of meat to a very ordinary 19-year-old girl is perhaps the keystone of the film, with the hope that more and more viewers will go to the cinema to root for her.
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Source: Vanity Fair
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