The eponymous Princesses of Fernando Leon de Aranoa's film are a pair of whores in Spain, and there is little irony in the title. Caye is lower-middle-class and Spanish, and her family thinks she has an office job. Zulema is an illegal immigrant with a child back home in the Dominican Republic and pretends she works in a cafe. Most local prostitutes resent Zulema and her kind for their exotic allure and lower rates, but she and Caye become close, supportive friends. Both are attractive, have 24-carat hearts and while they're not exactly happy hookers, they belong to a sentimental movie tradition that enjoyed a particular vogue in the Fifties and Sixties in such whores' operas as Le Notti di Cabiria, Never on Sunday and Irma La Douce.