Though he had made a name for himself with Shadows of Our Forgotten Ancestors (1965) earlier than Color of Pomegranates (1969), it was with the latter that S.P. first unveilled his particular style of almost still life tableaux — one after the other. So much so that it’s almost hard to call it cinema: “cinema” is Greek for movement, and nothing much moves in most of his films. But they’re insanely watchable.
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