In this bressonian drama, 13-year old Nina is a pickpocket who lives with Vassil, a man with whom she shares and improves her theft techniques, as well as the money obtained throughout the day. The girl’s circumspect, borderline wary, attitude does not allow for any speculation of a relationship between the two characters that goes beyond the strictly professional. In fact, her closest companion is a little dog she meets and plays with on the street, by the train line: “we must leave here”. During one of her many theft attempts, Nina ends up getting caught, but the victim decides not to press charges, offering to buy her lunch in a restaurant instead. However, is there space for redemption? In “Nina”, Bulgarian filmmaker Hristo Simeonov adopts a realistic style, with the nervous handheld camera inserting the viewer in the middle of the scene, quite close to Nina and at her eye level. The camera’s attentive and protective position – almost an accomplice even – does not offer a summary judgement on this ambiguous character’s behavior, exploring instead the intricacies of human morality. (AJM)