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1-2-3

Name: 1-2-3
Director: Kirstin Burckhardt, Brenda I. Steinecke Soto
Released: 2020

Representation Score

6.5/10

Good

2020

Director

Kirstin Burckhardt, Brenda I. Steinecke Soto

Average Rating

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New Showbiz Analysis

1-2-3 is a formalist experiment that prioritizes the deconstruction of cinematic hierarchies over traditional character-driven narratives. It succeeds in challenging the singular, authoritative gaze by replacing it with a collective, interconnected physical experience. The film's strength lies in its intent to challenge systemic observation and traditional power dynamics of the observer. By focusing on 'Body Ownership' and tactile interaction, it promotes a more communal understanding of human presence. However, the lack of explicit demographic detail makes it hard to assess racial or ethnic representation. The work functions more as a philosophical inquiry into perception than a study of specific social identities.

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Category Breakdown

Does 1-2-3 have LGBTQ+ representation?

Good

The film avoids typical romantic storylines, focusing instead on physical interactions and the idea of multiple selves. This highlights a fluid exploration of identity beyond the assumption that everyone is straight or cisgender.

How does 1-2-3 portray gender?

Fair

Using body cameras to create a first-person plural perspective, the film challenges the traditional male gaze. It redistributes power among interconnected bodies rather than focusing on a single authoritative observer.

How racially and ethnically diverse is 1-2-3?

Minimal

The film focuses on bodily movements and camera perspectives but does not provide enough information about racial or ethnic composition. While bodies are described as being in different social spaces, specific demographic data is not confirmed.

How does 1-2-3 represent religion and culture?

Good

The narrative challenges the authority of the outsider by criticizing the third-person perspective. It embraces a communal framework that disrupts Western ideas of the isolated, autonomous individual.

Does 1-2-3 include disability representation?

Fair

Focusing on tactile reality and sensory experiences, the film creates a framework inclusive of neurodivergent perspectives. However, it does not explicitly detail specific depictions of disability.

Present on Screen

Challenges the traditional male gaze through a collective, first-person plural perspective.
Critiques the third-person perspective to challenge colonialist or external observation.
Promotes a communal, anti-individualistic framework through the concept of 'BE-LONGING'.

Limited or Absent

Lacks explicit evidence regarding racial and ethnic diversity within the cast.
Does not provide specific, visible depictions of disability or neurodivergent identities.
Relies on abstract formalist techniques rather than clear, character-driven representation.

Official Synopsis

How can we visualize Body Ownership? We connected Body Ownership with an I-perspective, looking for images that uncover the multiplicity of the ‘I’ First person plural. Strapping two body cameras (GoPros) to our chests, we move in direct body contact. Our premise is that both I-perspectives of the cameras are at interplay with each other, showing that gaze is never produced by a singular entity. Instead, it is the result of bodies touching and reacting constantly to each other. The body cameras are joined by an external camera – a third-person perspective. While it may hold a position of power as the one who frames the image from the outside, it desires to dive into the collective I-perspective. BE-LONGING. At one point the gazes of the I-perspectives and the outside camera meet – they look at each other looking. Gazes conjoined with bodies. Body is spatiosocially bound, is situated.

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