IndieWire by Eric Kohn

While not aspiring to the heights of the texts underscoring his work, Piñero displays a daring formalism that transcends its many inspirations to find its own unique rhythms.

Slant Magazine by Christopher Gray

The distinctiveness of Matías Piñeiro's alluring brand of formalism lies in this deference to chance and alchemy.

The A.V. Club by Ignatiy Vishnevetsky

In an era in which the big movies are bigger and more expensive than they’ve ever been, few acts of resistance seem more meaningful than making a small, careful, and personal film that still wants nothing more than to invite the viewer into its private world.

Variety by Dennis Harvey

Even the most deliberately airy amusement can use more ingenious structuring and assertive personality than Pineiro is inclined to provide at this (still early) stage in his career.

The New York Times by A.O. Scott

The Princess of France has an appealing lightness and modesty, but it also feels flimsy and thin, like clever scribblings in the margins of a book, fleeting insights in search of form and energy.

The Dissolve by Mike D'Angelo

The Princess Of France ambles from one low-key encounter to another, rarely engaging directly with the Bard, and never elevating its heart rate beyond the resting level.