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‘Prince’ Film Interview: Show Dog Custody Battle Movie at BFI LFF 2026

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Prince is used to getting the royal treatment. But the award-winning show dog, an Afghan hound, becomes a driver for all sorts of crazy machinations in a cinematic and absurdist battle royal full of black humor that ensues in Uruguayan director and screenwriter Federico Borgia’s solo feature debut, which is simply entitled Prince.

Beyond the best-in-show dog, the movie stars his owner, her butler and their extended family. The setting: the fading seaside luxury of Punta del Este.

Prince, starring Roberto Suárez (The Saint), Maitina De Marco (27 Nights), Esteban Bigliardi (27 Nights) and more, gets its world premiere at the 70th edition of the BFI London Film Festival (LFF) on Thursday, Oct. 8. Alpha Violet is handling sales for the highly stylized film.

Since Prince becomes the main prize in a ruthless custody battle, the festival website describes the Uruguayan-Argentine co-production as a “kitsch comedy about avarice and love.” And class divides also play a key role.

“At the heart of the film is Jaime (Suárez), a former lover turned live-in butler to Isabel (De Marco), an affluent Argentine woman with whom he has shared two decades in an expansive coastal villa,” reads a synopsis. “Their peculiar domestic routine revolves around Isabel’s prize-winning Afghan Hound, Prince. When Isabel dies unexpectedly in her swimming pool, her will reveals an absurd condition: her entire luxury estate has been left to Prince, with Jaime appointed as his guardian. Isabel’s human relatives can only claim the property once the dog dies.”

So when Isabel’s estranged son and granddaughter move in, intent on finding a way to oust the dog, Jaime tries to protect Prince while being forced to confront Diego, his own estranged son, and a past he has long avoided. The resulting tension turns the villa into a claustrophobic pressure cooker.

Borgia, who previously co-directed Clever (2015) and The Champion of the World (2019) with Guillermo Madeiro, talked to THR about how Prince draws on his own experience living in Punta del Este and a childhood fascination with show dogs, as well as the cinematic atmosphere he crafted.

Watch a trailer for Prince right here.

The inspiration for Prince came from the filmmaker’s life. “It was very much influenced because I moved from Montevideo to Punta del Este. It’s a touristic coast town where social classes mix up – there’s this working class and this class that pays for services,” Borgia tells THR. “There is this mix of glamor and decadence that started surrounding me, and I started a game of observation. I started looking at people in different places and writing down things I saw and then started an imaginative game of questions about what was behind what I was seeing.”

The show dog seed was planted at an earlier age, though, he recalls. “When I was a kid, I had this nice dog that was given to me when I was 10,” Borgia explains. “And I remember going, with my mother, to this dog groomer [to trim the dog’s hair]. He didn’t participate in dog shows, but at this grooming place, I saw these pictures of contests with these guys in suits posing. They looked like lawyers, but with a dog.”

The creative started to mesh up these real-life elements with “this story of this inheritance thing,” Borgia recalls.

The character he conceived as a protagonist is in an unusual, some may even say uncomfortable, position. “He’s a worker who met this lady in some kind of service relationship, and then he became her lover, and that started this undefined point between being a lover, partner, butler. It’s really undefined as you start discovering, and then all the other relationships and bonds and all the problems that come with them and family come into the film.”

Finding the cast was a mix of asking people he had long admired and finding faces he wasn’t as familiar with, Borgia tells THR.

‘Prince,’ courtesy of Alpha Violet

“Roberto Suárez, who plays Jaime, is someone I have wanted to work with for a long time, and he accepted really fast,” the filmmaker shares. “I really admire him, not only as an actor, but also as a great theater creator. So I really wanted to work with him throughout the [creative] process. He was reading different versions of the script and throwing out ideas, and they were always brilliant ideas. He’s also a great person.”

To find cast in Argentina, Borgia started exploring opportunities through castings, asking people and watching movies. “So, there were different parts and approaches to the casting process, and I am very happy with the cast I found,” he concludes.

Did the dog actor ever cause any challenges on set? “The dog was always perfect,” shares Borgia. “We never had a problem with the dog.” Except for that one time when things got hairy. “Just one time, he fell into the pool, and we had to dry his hair for two or three hours,” he says.

And no, the director didn’t choose an Afghan hound for its reputation for trainability but its aesthetics, its look. “I actually started investigating on the internet how to train a dog,” Borgia says. “And the Afghan hound was really low on the list of trainable dogs, well below the Border Collie, the German Shepherd and others.”

But the creative team met a man who lives with eight Afghan hounds. “There’s another film in that,” Borgia tells THR with a smile. “But he told us that Afghans are difficult, but he has one dog who is really young and different. He said he is like a Labrador in the body of an Afghan. He was really social and really calm.”

‘Prince,’ courtesy of Alpha Violet

For Borgia, the story of Prince may unfold in a specific setting, but he expects audiences in various parts of the world will recognize key themes and issues that the movie explores. “The story itself is universal, but the most important thing for me was the characters and their relationship, and the tone of the film. I felt I could make it different. The original thing is how an author can make the premise of a film different.”

What’s next for Borgia? “I want to talk about it, but I have no clue,” he tells THR. “Every time I finish a film, I really don’t know if I’m going to make another one. Or at least that’s how I feel. But I know I will because it’s like an addiction. You know you’re going to fall into it again.”

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The Coven Boards Australian Slasher ‘The Only One’ With Mel Jarnson

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EXCLUSIVE: The Coven has picked up worldwide rights to Michael Schwarz’s slasher directorial debut The Only One ahead of its premiere at the Brooklyn Horror Film Festival this month.

Described as an ode to the slashers of the 80’s and 90’s with strong leading women, the film stars Mel Jarnson (Street Fighter) as protagonist Zoe who has returned to her Australian hometown after an unsuccessful attempt to become an actress in L.A..

Her homecoming takes a deadly turn when a mysterious “prince charming” starts murdering all her exes. Teaming up with high school best friend Piper (Saphira Moran), the two race to unmask the twisted killer, in a mission that will see Zoe face all the hearts she broke before prince charming is the only one left alive to claim her heart.

“The Only One taps into the growing appetite for relationship-driven horror films,” says Kendall Anlian of The Coven. “It’s fresh, smart, and wildly fun, Schwarz directs his first feature like a horror veteran, while Jarnson is an absolute force of charisma and badass energy, we’re lucky to be on board.”

The Only One is written by Marek Polgar and Martyn Pedler and directed by producer-turned-filmmaker Michael Schwarz. It is produced by John Schwarz with Australian-based production company Three777 Films as executive producers.

“The Coven are the newest additions to The Only One family, but it feels like they’ve been with us for the whole journey,” says Schwarz. “I couldn’t be more excited to have them introducing it to the market, and allowing this film to find its true audience.”

Female-owned The Coven, co-founded and led by Priscilla Ross Smith and Anlian, is no stranger to the slasher genre.

The Lyon and L.A.-based company handled worldwide sales of on Terrifier 2 and then produced and sold Terrifier 3, and more recently boarded Sunnyside, a dark cannibalism horror currently shooting in France.

The Brooklyn Horror Film Festival runs from October 15 to 22.

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Jane Turton On Integrating ‘The Traitors’ Maker All3Media Into Banijay

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The tectonic plates of the international production world shifted forever on July 9, when the merger between indie giants Banijay Entertainment and All3Media closed. The result created an entity larger than the BBC with annual pro forma revenues of €7.4B ($8.5B) and a catalog including MasterChef, The Traitors, Peaky Blinders, Midsomer Murders and Big Brother.

Banijay boss Marco Bassetti was named CEO of the new-look company, which will be given its true unveiling at a swanky drinks bash on the eve of MIPCOM.

For market watchers, a standout element of the C-suite org chart was All3Media’s long-serving CEO, Jane Turton, who became Deputy CEO of the combined entity. After spending 11 years crafting All3 into a major revenue-generating business, one might assume she would have decided to exit the fray. Given she was widely mentioned as a leading candidate for Director General job at the BBC and retains a reputation among peers and former colleagues as a top strategic thinker, the options elsewhere would surely have been plentiful.

So, is Turton content now the dust has settled? “Of course, I wouldn’t have taken it otherwise,” she responds when she sits down with Deadline down in the lobby of an Edinburgh hotel. “Life is about making choices, and I’ve made a positive choice to stay.”

Turton becomes increasingly passionate as she provides context about her mission. She had spent a decade burnishing All3’s reputation as one of TV’s top players, and now wants to oversee its integration into the Banijay fold. She’s hoping to protect jobs where she can – though Deadline has revealed several exits in the distribution team, where duplication is heavy – and she likes the scale of a wealthy business backed by Jeff Zucker’s RedBird IMI and Stéphane Courbit’s Banijay Group that “isn’t just big for big’s sake.”

Turton is also a proponent of change and is up for the challenge. “It is exciting,” she says. “It’s a big adjustment and that’s fine. It won’t do me any harm.”

She’s also been inspired by Banijay’s ability to supercharge formats and produce them in-house, pointing to how Dutch murder mystery reality hit The Traitors might have rolled out internationally as an example. “If All3 had been in Banijay at the time, we’d have had that going out – bang! – across 25 territories in a week on Wednesday. But we were selling it piecemeal.”

Given how fresh this all is, the focus since July has been hitting the year-end target and integrating with management. Around €50 milliom ($57 million) in cost savings are planned. The long-serving All3 international sales chief Louise Pedersen exited in July, along with others such as All3 group COO Sara Geater. Last week, Deadline revealed Rachel Job was in line for an EVP of Content job Banijay Rights, and this was confirmed later in the week.

At MIPCOM, Banijay Rights will be in town with content from the former All3Media International catalog, with Cathy Payne leading the unit. “Cathy is working incredibly hard to get her team in place for MIPCOM,” says Turton. “She’s got a shiny new Banijay Rights team that hopefully can accommodate for people from both sides assembled in the roles in the right places.”

Buyers might find seeing The Traitors sitting next to Survivor branding on the Banijay stand as initially jarring, but they’ll need to adjust fast. Banijay Rights now has a catalog of more than 265,000 hours from a combined business that owns more than 170 production companies. For context, BBC Studios is around the 45,000-hour mark and ITV Studios comes in near 100,000 hours.

Federal future

Back on the production front, Banijay leadership teams have been set in the U.K., the U.S. and Germany. Collectively, the likes of Studio Lambert, Neal Street Productions, Endemol Shine North America, Filmpool, Initial and Two Brothers Pictures are all in the same house.

A key strategic question for the immediate future is how All3’s well-documented “federal” model, where producers remain siloed and independent of each other, can mesh with Banijay’s geographic approach. Turton says people “overstate” the difference and that both companies are led by the same underlying north star: Creative leadership. “Can they develop and pitch, sell and produce the best shows, yes or no?” she says. “That is the only criteria for success.”

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Netflix’s ‘The Empress’ Season 3 Trailer Drops Ahead Of November Debut

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The Empress is putting on her royal dress for the final time.

A trailer for the final season of Netflix‘s Austrian period drama has dropped, with the gates of Schönbrunn Palace opening one last time. It finds Sisi struggling with her role and her desires, as she is told, “The life you dream of will never come true.”

The trailer shows Elisabeth, the Empress of Austria (Devrim Lingnau Islamoğlu), fighting for her heart, health and voice, as the Viennese court constrains her. Dealing with the rejection and unfaithful behavior of Emperor Franz (Philip Froissant), who has returned traumatized from the Sardinian War, Elisabeth, known as Sisi, decides to leave Vienna and set off to a distant island to recover her health and distance herself from the courts and her shaken marriage.

By chance, she meets the leader of the Hungarian revolution, Count Andrássy (Dejan Bućin) and they immediately share a strong physical and emotional attraction. At the same time, Franz’s brother, Maximillian (Johannes Mussbaum) sets off on an adventure with his wife (Josephine Thiesen) to ascend to the imperial throne in Mexico. Sisi is forced to decide whether to follow her heart or remain a sincere empress to her people.

The Empress has been one of Netflix’s biggest non-English-language drama series. The first two seasons of The Empress has amassed well over 65 million streams since Netflix first started publishing views in What We Watched reports from July 2023. The International Emmy-winning Season 1 stayed in the global Netflix Top 10 of non-English shows for five straight weeks in 2022, while Season 2 made its way into the Netflix Top 10 in 84 countries in 2024, according to the streamer.

The final six-part season drops on November 12, just under two years after Season 2 debuted in 2024.

Katharina Eyssen once again serves as showrunner for the third season, sharing creative responsibility with executive producer Robert Eyssen. Sommerhaus Serien is producing. Scarlett Lacey returns as executive producer, and Lars Gmehling is co-executive producer. Florian Cossen and Julia Langhof are the directors. Filming took place in Bavaria, the Czech Republic and Spain.

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