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Photos More like this. Watch options. Storyline Edit. A storm, then the sunrise. Add content advisory. User reviews 9 Review. Top review. If your patience needs stretching, this film will do it. Coming from Kiarostami, this art-house visual and sound exposition is a surprise. For a director known for his narratives and keen observation of humans, especially children, this excursion into minimalist cinematography begs for questions: Why did he do it? Was it to keep him busy during a vacation at the shore?

They are the title names are my own and the times approximate : "Driftwood and waves". The camera stands nearly still looking at a small piece of driftwood as it gets moved around by small waves splashing on a beach.

Ten minutes. The camera stands still looking at the ocean horizon and a boardwalk. People walk across the camera frame, their faces too far and blurry to make them interesting.

Eleven minutes. The camera stands still looking at the ocean horizon with a sandy stretch of beach nearby. Far away at the water's edge, six dogs not doing much, just relaxing. Sixteen minutes. The camera stands still looking at the ocean horizon near the water's edge. Dozen and dozen of ducks stream in single file from left to right. I assume that Kiarostami released them gradually.

The last two ducks stop dead on their track and suddenly a gaggle of ducks rolls quietly from right to left. I assume Kiarostami collected the ducks and re-released all at the same time. It is not the first time that he deals with the contrast between organized and disorganized behavior.

Eight minutes. The camera stands over a pond at night. It's pitch black except for what appears to be the reflection of the moon on the undulating water. It is a stormy night and clouds race to cover the moon. The screen goes dark. What remains for us is the cacophony of frogs, howling dogs and, eventually, morning roosters.

Hit me on the head if this was done in a single take. I saw this segment as a sound composition put together in the editing room and accompanied by a simple visualization. Twenty seven minutes! There is no dialogue, no characters, nothing like a conventional narrative — just five long sequences hence the title in which time is seen passing at various littoral locations. In the first, the camera follows a piece of driftwood, and then a small fragment that breaks off it, as they are rolled by incoming waves.

In the second, people and pidgeons walk by along a promenade as waves roll in the background. In the third, a pack of dogs on a beach watches the sea in the increasingly blinding light of the sun. In the fourth, a veritable shooting gallery of ducks walks on the sand now this way and now that past a fixed camera.

In the fifth and longest , the moon, reflected in rippling water, disappears and reappears behind clouds, as first a thunderstorm breaks, and then more gradually dawn. Kiarostami has for example admitted that it was only the off-camera offer of food which coaxed the ducks into their comic march raising the possibility that the motions of the driftwood off-camera, and the pacings of the promenaders, might be similarly manipulated. Your email address will not be published.

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