Con ánimo de lucro

The scouts

The Millennium Goals deconstruction is solid ideological jujitsu, but the film plays it too straight—it reads like a well-argued op-ed when it could've been weird and broken about it, let the contradictions actually breathe instead of narrating them into submission.

Planas situates himself squarely in the essay-documentary lineage of Marker and Godard, where montage becomes argument; the formal architecture—how poverty footage, institutional rhetoric, and counter-narratives are woven—does the intellectual work that mere talking points never could.

The decision to let contradictions sit unresolved rather than resolve them rhetorically is what sells this; most docs would hammer the conclusion, but Planas trusts the viewer enough to leave the frame deliberately fractured, and that restraint is what makes the provocation actually land.