For a film that spends so much of its runtime capturing its subjects in crowded medium shots and discomforting closeups, “One in a Thousand” (“Las mil y una”) feels very much like a cartographic exploration. Its assured sense of place comes not from establishing shots nor helpful geographical markers but from the specificity of its stories and the authenticity of its performers.
Writer-director Clarisa Navas has set her film in “Las Mil,” a housing project in the Corrientes province of Argentina where she grew up. Built in the 1970s, the now-dilapidated buildings serve as a stark reminder of the kind of populations that are left behind to rot. Yet amid such dour conditions, the film sketches a vision of marginality that’s as hopeful as it is bleak, that finds flowers among the weeds, as if it were intent on pushing back against the narratives about those who try to...
Writer-director Clarisa Navas has set her film in “Las Mil,” a housing project in the Corrientes province of Argentina where she grew up. Built in the 1970s, the now-dilapidated buildings serve as a stark reminder of the kind of populations that are left behind to rot. Yet amid such dour conditions, the film sketches a vision of marginality that’s as hopeful as it is bleak, that finds flowers among the weeds, as if it were intent on pushing back against the narratives about those who try to...
- 12/2/2021
- by Manuel Betancourt
- Variety Film + TV
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