"Pinpin is a narrative in the form of a rarefied romantic comedy, which shares with the cinema of Eric Rohmer the willingness to yell to the protagonists so they fulfill what they put at stake, the desires they build. But precisely, as in Rohmer’s films, what’s important is the game and the desire, the exchange of looks, of words, of encounters. All of that plus their permanence, their insistence, their plausible return. In order to become obsessed, one has to have the chance of doing it, along with the impossibility of overcoming that floating state. Pinpin is built around a state of desire and of reserved movements to a neighborhood, to a nearby world whose promises seem close and obvious but become intangible, or at least divergent. Rohmer also knew that—the characters do not act like us, and in that discrepancy lies the desire to continue seeing how they don’t do that which we imagined we would have done."

Javier Porta Fouz - BAFICI