Director: Dyutiman Mukhopadhyay
Abbas Kiarostami's 'Five dedicated to Ozu' experiments with the illusion of director's detachment to cinema - a unique approach which utilizes the static camera, the long take, passive recording and active interpretation. It is the form which is seen during the birth of cinema - the strategy adapted by Lumiere brothers. Later on the use of long take was pioneered by several master directors especially Yasujirô Ozu, Andrei Tarkovsky and among the modern greats primarily Theodoros Angelopoulos. Kiarostami's 'Five' reaches the pinnacle of the experiments till date. '3 long takes dedicated to Abbas Kiarostami' does not try to emulate 'Five' but tries to show the stages in cinema which led to 'Five'. Hence the segments show the transitions in camera movement from active to the illusion of static.However, as is the essence of Kiarostami's most films, the dualism between'passive recording' and 'active interpretation' is the central theme of this film too. Segment 1: the camera is actively involved but shows glimpses of passive recording. Segment 2: the camera follows the object as if attached to it. Segment 3: the camera is actually moving along a track but generates the illusion of static recording.