Toc Toc

Six patients converge at a prestigious psychologist's office, each living with OCD. Their appointment is scheduled for the same moment, but a delayed plane keeps their psychologist away, forcing the group to spend an endless, awkward hour in the waiting room. Blanca, Emilio, Ana María, Federico, Tiffany, and a sixth patient discover that personal rituals are hard to suppress in close quarters. Conversation shifts between practical routines and competing rituals as clumsy misunderstandings surface and alliances form. What begins as a clinical vignette becomes a social comedy about the limits of politeness, embarrassment, and human connection when control slips away in a confined, shared space. The tension relaxes sometimes as humor gives way to genuine moments of vulnerability.

Directed by Vicente Villanueva, Toc Toc is a Spanish adaptation of the French stage play Toc Toc by Laurent Baffie. Released in 2017, the ensemble cast features Alexandra Jiménez as Blanca, Paco León as Emilio, Rossy de Palma as Ana María, Oscar Martínez as Federico, and Inma Cuevas as Tiffany.

Although a broad release, the film's premise sparked conversations about mental health and everyday etiquette, inviting audiences to reconsider how OCD is portrayed on screen. Critics noted the ensemble's energy and how humor tempers awkwardness, turning a waiting room into a small social experiment. It also prompted viewers to reflect on compassion and miscommunication in crowded spaces.

Critics praised the brisk, character driven setup and how confinement exposes dependence on rituals, social acceptance, and the pressure to keep up appearances. The performances by Jiménez, León, and Rossy de Palma carry the jokes, while the screenplay threads empathy through sharp dialogue and timing. The film treats OCD with respect while keeping pace lively.

Box office figures for Toc Toc are not publicly disclosed, and available sources do not provide reliable worldwide earnings. This makes it hard to judge its commercial reach relative to other Spanish comedies from the same period. Still, the film found a dedicated audience in Spain and among fans of Laurent Baffie's stage work, suggesting lasting appeal and potential for repeat viewing.