This 74 minute feature film is like no film I ever have seen. The five shots that compromise its sequence challenge the viewers patience and ask us to to reflect upon our surroundings in relation to ones self. The idea of 'genius loci' appears once again as a subject that excites my imagination when viewing this film.
(Full definition of 'genius loci')
Our surroundings have a great influence on our decisions in life - from obvious habitat decisions of work, family and interests, to subtle traits of our personalities that may not be so obvious. An example that I have noticed within my own character is my awareness when walking around the city I now live in. From growing up in a secluded village to moving to the busy city life of Cardiff has made me more paranoid when walking down the street, with the multiple automobiles whizzing past, to the assortment of characters who seem to walk too close to me compared to what I have been used to in less densely populated areas of the country. This film highlights the subtle movements of objects, humans and animals that may get overlooked in the everyday, and forms the suggestion of the natural flow of our surroundings constantly shaping our world. The presence of water within each shot, (from the lapping shore line of the Caspian sea, to the slight movement of water that reflects the moon), suggests the idea of the endless series - the water being a constant, ever flowing natural part of our surroundings that can bide its time but flow in every direction and through anything it encounters.
The first scene, Wood, follows a chunk of driftwood. As the only shot where the camera moves (to follow the wood's path), the lapping shore endlessly crashes against the sand, pulling and pushing the wood along in the same way longshore drift carries sediment along a long stretch of shoreline.
Scene 1 - Wood
One has to wonder whether the separation of the driftwood into two pieces was a manipulation on Kiarostami's part as the director and artist. For, although this could be a natural occurrence, for it to have been caught on film suggests the environment as staged. Did Kiarostami film this piece for a long period of time, hoping this would happen? Or was this occurrence simply nature's hand? I believe this part of the scene was unintentional, but the disappearance and consequent reappearance of the large chunk of wood in the background having been washed out to sea was due to manipulation. Someone has clearly pushed the larger piece out , otherwise one has to wonder how this scene may have been if the camera had decided to follow the larger chunk rather than stay at the waters edge with the smaller piece. Why did the camera have to follow the driftwood at all, as, in comparison to the following scenes, the camera sways from it's original homage to Yasujiro Ozu, the master of cinematic stillness, and Kiarostami's reson for the creation of this film.
The first time I watched this film, the manipulation of certain scenes was not clearly evident. However, I certainly queried it's truth. How could all those ducks pass by the camera in such quick succession?
Scene 4 - Ducks
The answer being that if you look closely you will see the outlines of some of the ducks that have been superimposed onto the final image (clearly a deliberate giveaway made by Kiarostami).
How could all these dogs stay in the centre of the shot for such a period of time seemingly looking out across the sea? It almost hints to the absurd until you realise that a dog trainer is just off to the side instructing their movements.
Scene 3 - Dogs
The final shot of the moon reflected in rippling water was filmed over a series of months, with different weather affecting the water and therefore the reflection.
Scene 5 - Moon
The patience needed by the viewer to get through the full 74 minutes of film is tested (depending on how the feature is watched). As this film is now available on DVD one is able to watch the film according to one's home-watching habits. I am someone who will have a film playing in the back ground whilst getting dressed in the morning, dusting the room, making my dinner, or just lounging on the sofa. For someone who's attention must be fully submerged within the context of this moving image I do not feel envious. Although I can enjoy the subtleties within shots where not much happens, this film challenges even my limits of boredom. The length of each shot is just about bearable before a quiet blast of sombre music signifies the next scene. To watch this film from start to finish calls for a great amount of attention so that smaller aspects of the scenes are noticed, but i fail to comprehend how many people would stand to sit through the first scene, let alone all five. The manipulation within the scenes adds a certain air of playfulness, and lifts the sombre atmosphere that the boredom of watching it can create. On the other hand, this is not a film that I will choose to show at a regular film night I attend (although I am sure those who attend it with me would have a lot of declarations of boredom to make over this feature!)
Scene 2 - Promenade from 'Five' by Abbas Kiarostami
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