It's strange that Princess Cyd is written and directed by a man, Stephen Cone, because it feels very much like the kind of material that would be so brilliantly brought to the screen by a woman. It really captures certain feelings and moments, there are times when this is absolutely beautiful in how laser-focused it can be, and stealthily starts to pluck at your heartstrings until you realise that you're *that* close to some happy tears.
Admittedly, having never been a teenage girl, this film may not seem to be aimed at me. It's fine though, because we've all been teenagers, and Princess Cyd showcases a teen who is typical, in so many ways, and yet also better than many of us could have hoped to be at that age.
Jessie Pinnick is Cyd, a 16-year-old who goes to visit her aunt (Miranda, played by Rebecca Spence) in Chicago. Miranda is quite a well-known writer, and she seems to have a lot of interests that are a world removed from anything Cyd might like. She also doesn't seem all that interested in sex, which is something popping into Cyd's mind a lot, especially after she meets a local girl named Katie (Malic White). But, and this is very important throughout the movie, Cyd and Miranda have a shared connection in the way they grow closer to one another. Family bonds are one thing, but getting to know someone better, and respect and admire their differences as well as their similarities to you, is quite something else.
With a traumatic past event being alluded to, the clash between a teen and her aunt, and a period of sexual exploration coinciding with a summer holiday, Princess Cyd could have gone in any number of different directions. I admit that during the earliest scenes, with Cyd making some assumptions and trying to cut in as Miranda was speaking, I didn't think I was going to enjoy this. That kind of conversational style is very much how teens are, especially when trying too hard to show interest in something they may not care for, but it's only used here before Cyd starts to settle into her new surroundings. Cone is very smart in his way of making the characters completely believable, but also developing them naturally and carefully to a point that proves massively rewarding by the time we all move on towards a finale that is able to bring a lump to your throat with one brief telephone conversation.
Aside from his superb script, Cone also gets things right with the way everything is shot. The camera stays close to the leads, but without doing that irritating thing every minute of hanging around close to someone's neck while you hear them breathing (you know what I mean, you've seen it in many other independent movies). We get a lot closer, and more "tactile", when things are intimate, but those scenes are also shot with a mix of intimacy and care that once again belies the fact that a man helmed this film.
If there is any justice in the world then Pinnick is destined to have a fantastic film career ahead of her. She's an absolute star in this role, a captivating presence who handles the more cinematic beats without ever feeling fake. That's not to dismiss the performance from Spence, who is excellent working alongside/opposite her, but this is a real showcase for Pinnick. White is on par with the other leads, and James Vincent Meredith makes a great impression as Anthony, one of Miranda's friends, also a writer trying to better his work with her advice.
There are one or two little things I can't quite put my finger on that stop this from being perfect, but it certainly comes pretty damn close. I look forward to checking out more from Cone when I get to them, and I'll definitely be looking out for other films that make good use of Pinnick. And, just in case it wasn't completely clear from my effusive praise above, this is highly recommended.
9/10
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