"Twenty-four Frames" What is this work?

Strictly speaking, this is an "art gallery movie". So I say it is more like installation art than documentary. ? This two-hour movie consists of 24 clips, each of which is a "picture" and lasts about 5 minutes. However, it is also different from the "Five" that Abbas paid tribute to Yasujirō Ozu before. Not all the pictures in this film are fixed long shots (although some of them are fixed long shots in the style of "Five"). What it does is mainly to dynamically process some elements in Abbas's photographic works, or to synthesize them with other video materials to realize "mobile photography". This is a step-by-step restoration of Lumiere and Meria's films, but it is obviously different from those early films.

These 24 pictures are used to explore the essence of movies and the possibility of digital technology to images. Use database movies at the same time (not database narration! It is closer to experimental films, especially Peter Greenaway's early works, that is, films that emphasize the different arrangements and combinations of elements in the database to produce meaning, such as Windows. ), so it is an analysis and summary of film techniques. ? This is similar to the theme and technique of Abbas's short film "Future Reloading" for the 70th anniversary of Venice.

Restart the Future uses digital cameras, children's directors and arbitrary games. It recreates the movie scene, just like Lumiere's Watering the Gardener. This is the imagination of future film materials and filmmakers after returning to the relationship between film and reality. The first of the "24 paintings" is the Winter Hunter by Breazeale Sr (also known as Bruegel). This masterpiece in the history of art also appeared in tarkovsky's Flying into Space.

"24 Paintings" also uses the documentary nature of the film to reflect Abbas's narrative. Take the picture 13 as an example: a group of seabirds flew over the beach, and after a gunshot, a seabird was shot and landed on the beach; And its partner (! ) lingered around the body for a long time and refused to leave. After a while, other seabirds came around. This is a crime movie! ?

In addition, many other pictures have similar descriptions. Of course, this narrative also comes from the documentary and digital technology of "mobile photography". But this treatment is actually a discussion of the film itself. ? This can even be said to be a direct response to the question of "Lumiere-Meria"-what is the relationship between documentary and narrative? Are all the birds in this scene collaged by computers in the later period?

When I finally saw the 24th picture, I almost laughed. ? The content of this picture is a computer monitor on the table by the window, and the end of the best years of our lives is being played frame by frame in the video editing software that is opened. ? In the monitor, the hero and heroine are kissing, and then the "ending" appears on the screen. Next to the computer is a man who is asleep at his desk. We can only guess that he is an editor? Director? Or a movie fan? ? I think this photo is a perfect summary of this film. The frame in the frame, the movie in the movie, the people watching the movie, digital technology, and ... the sleeping audience (it's too harsh for me to look straight at myself)

. When this picture ended, the credits went up, the lights lit up and the audience applauded warmly. Abbas's son waved to the audience. ? This is Abbas's last film. ? The master didn't give a golden answer, but all the audience saw his return to nature, free will and subtle thinking. Then it suddenly occurred to us that Abbas had passed away. ? At this point, we know that,

In this world, there is another kind of movie missing.