Summary
A 3,000-year-old site in northern Iran is being excavated by foreign archeologists and farm manure. The film demonstrates Golestan's documentarism about the classic elements through which the past touches the present and in which there is a clear continuity between the life forms which the camera reveals and brings life to dead objects. Looking at the film, it is impossible not to remember the movie Les statues meurent aussi (1953), which, like this film, draws convergent lines between man, art and death, portraying the history of the world in a political and poetic way. Golestan seems to take on some techniques by which Marker, Resnais, Cloquet separate sculptures and other objects from their surroundings, in order to display them on pure black cinematic background, thus giving them volume. Golestan pays special attention to sound, so o the music - an important contribution of Mortez Hannaneh, one of the most influential Iranian composers of his time - is often muted to amplify the sound of a brush caressing a piece of broken dishes.
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