The directorial debut from Chilean Sebastian MUÑOZ opens with a murder scene. Jaime, a narcissistic young man lands in jail after killing his friend one night at the club. In prison, he is ordered to warm the bed of an older, more powerful cellmate. What started as sexual assault gradually transforms into a dependent relationship and Jaime’s loyalty is tested when violence breaks out. The Prince is set in 1970s Chile, but the time or space of the external world is not significant. In this world, our protagonist shows little reflection on his actions, his mentality doesn’t seem to suffer much even after being brutally raped, and the sexual identity crisis never crosses his mind even as he proclaims his devotion in the grand finale. In this stylish, surreal world the portrayal of violence is adversely hyperreal, so it makes the cruelness of the situation and crudeness of its development even more intense. (Karen Park)