Iris (Sofía Cabrera)) lives in the poor neighborhood of Las Mil Casas, in Corrientes (Argentina). She dropped out of school and shared her free time with her gay cousins Darío (Mauricio Vila) and Ale (Luis Molina) or wandered around the labyrinthine neighborhood chipping her basketball. But Renata (Ana Carolina García) will break into her life, giving rise to a particular love story. On the one hand, The thousand and one accompanies the coming age of Iris, fascinated with Renata, a kind of outgoing femme fatal older than her who is back in the Thousand; both will get closer against the background of certain gossip. But it is also about Iris's close friendship with her cousins and how both brothers live their gay sexuality in very different ways, in an environment where sexual choices and their fields of action are far from being partitioned.The young people of Las mil y una constitute a world with adults almost always out of the field. Navas's camera accompanies them with very long sequence shots, often in motion, giving scenes and dialogues an enormous naturalness (it is also worth noting that sometimes it is difficult to understand what they say). On the sexual plane, total frankness prevails, where modesty or explicitness is absolutely consistent with the psychology of the characters and situations. Certain scenes referred me to La Ciénaga, by Lucrecia Martel and I couldn't help but relate the film in general (its melancholy, its relaxation, its connection with the characters) with Who Are Who We Are, the Luca Guadagnino series (which premiered after ) about another group of young people (much more affluent, by the way) in the closed world of a military base. In sum, the second film by the young Corrientes director Clarisa Navas is a powerful portrait of the circulation of affection, desire and sexuality in a group of young people in that marginal neighborhood and a story of love and love, far from manners and of any misery.