Princess Cyd | BEST – 2027 |

Cyd rejects traditional femininity. She sports short, messy hair, baggy clothes, and a tough exterior. She is a "tomboy" who plays soccer and scoffs at the idea of being a princess. Yet, deep down, she craves the protection and adoration that the archetype of a "princess" implies. She wants to be taken care of, to be desired, and to be special.

The New Yorker called it "a small miracle," while RogerEbert.com gave it four stars, noting that the film "feels like a blessing." Despite this, the film remains obscure, largely available on streaming services like Netflix (historically) and Amazon Prime. It is the definition of a cult classic in waiting. Princess Cyd

Cyd, conversely, is not a delinquent in need of reform. She is a girl discovering her sexuality and her agency. She is adventurous, sometimes impulsively so, but she possesses an innate emotional intelligence that allows her to see the loneliness in her aunt’s "perfect" life. Cyd rejects traditional femininity

Miranda is not homophobic. She is simply confused. She loves Cyd deeply, but expresses that love through intellectual debate rather than hugs. Their conversations about God are not fights; they are attempts at translation. Miranda believes in Christ; Cyd believes in physics. The film suggests that both are valid ways of finding meaning. In one beautiful scene, Miranda admits that her faith has not saved her from loneliness. In another, Cyd admits that her atheism does not stop her from feeling awe. Princess Cyd argues that family is not about sharing beliefs, but about sharing space despite them. Yet, deep down, she craves the protection and

Princess Cyd has been lauded by critics for its "unconventional" approach to the coming-of-age genre. It is often cited alongside other independent landmarks like Pariah and First Girl I Loved for reshaping how queer girlhood is represented on screen. By showing queerness as just one facet of a rich, developing life rather than a singular "phase" to be overcome, it provides a blueprint for more authentic, empathetic storytelling.

Stephen Cone’s Princess Cyd (2017) is a warm, intellectually curious "coming-of-self" drama that avoids traditional coming-of-age tropes in favour of a deep exploration of intergenerational female bonds and individual autonomy. Core Dynamics: Spirit vs. Body

is the film’s secret weapon as Miranda. She plays a woman who has built a fortress of solitude out of literature and liturgy. Spence allows Miranda to be unlikable at times (she is too intellectual, too distant), but never irredeemable. When Miranda finally laughs genuinely—a rare, loud laugh—it feels like a victory as big as any sports championship.