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These words begin Golestan’s 1963 documentary The Hills of Marlik. Repeated again and again, these words mark the film as one concerned with temporality. The images preceding these words are of a pair of hands piecing together the broken parts of what seems to be an ancient artifact. A man sitting by a stream, the camera reveals. When this (re)assemblage is finished, a shot of a stylized clay pitcher placed by the water.
