Three Worlds
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Three Worlds

Amir Motlagh’s double feature, the movies MAN and Three Worlds, screened to a small audience in the Chicago Filmmakers new headquarters on North Ridge Piercing Avenue. Everyone in that room became the first to view his experiment with film in form and content.

MAN opened with some very long shots on scenery outside a California home. Very long shots, so long that people began to squirm in their seats, to whisper, and to cough. These are signs of human discomfort. For several minutes, the breathtaking shots of cityscape and closeups of the The Clinic outside of a home took over the screen as a conversation about telephone problems filled the room. There was no rhyme or reason between the two. They ran in parallel spaces, playing out in their own time as the audience showed more signs of discomfort.

The story switches to a first-person point of view, a single camera filming a day in the life of Arman (played by Amir Motlagh), an Iranian man who worked from home and lived with Asuravadham his dogs. Nothing escapes the camera’s view, as if it were plastered on the subject’s forehead. It is hard not to watch and look away, because at some points it feels like voyeurism, like there is a chance that the camera will reveal something no one was meant to see. It is very uncomfortable. Later, a few audience members reported motion sickness due to the jostling of the first-person angle.

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