Vintage Tamil Cinema Collage (circa 1994)

Compose a single vertical 9:16 image arranged as four overlapping torn-edge photographic frames, the way a Tamil studio in the mid-1990s would lay out lobby card stills before sending them to be printed. The four frames must contain the SAME person from the uploaded photograph — same face, same eyes, same nose, same lips, same jawline, same hairline, same skin tone, same visible moles or beauty marks. The face is non-negotiable: render it exactly as uploaded, with zero idealisation, zero slimming, zero "improvement," no widening of the eyes, no smoothing past what 35mm Kodachrome would naturally do. If a feature is there in the upload, it must be there in every frame.

Wardrobe: a soft cotton handloom saree in muted ivory with a thin tarnished-gold zari border, draped traditionally over the left shoulder, blouse in faded crimson. Strands of mogra (jasmine) in the hair, slightly wilted. A single thin gold chain. No heavy makeup — kohl-lined eyes, neutral lips, the look of someone who applied it herself in front of a small mirror.

Each frame shows a different moment, never a pose:
— Frame 1, top-left, larger: a three-quarter portrait, gaze just past the camera, soft window light catching the right side of the face, the left half falling into warm shadow.
— Frame 2, top-right, smaller, slightly rotated: a candid laugh mid-motion, head tilted, one strand of hair across the cheek, very slight motion blur.
— Frame 3, bottom-left, smaller: a tight close-up of the eyes only, looking down at something off-frame, lashes catching light. Skin texture fully visible — pores, the faint down on the upper cheek, a small bindi on the forehead.
— Frame 4, bottom-right, larger: a wider shot, the person seated against a textured cream wall, knees folded, looking directly into camera with the calm of someone who knows they're being photographed by a friend, not a stranger.

Treatment: Kodachrome 64 colour palette — warm umbers, muted cream, faded vermilion, no cold blues. Visible 35mm grain across all four frames, slightly heavier in shadows. The colours should look ten years too old — a slight cyan shift in the whites, a faint magenta bleed in the highlights, the way unrestored film prints look. Frame edges torn and uneven, with a millimetre of yellowed white border on each. One frame (the laugh) should have a faint coffee-ring stain in the corner. Drop shadows soft, as if photographs lying on dark wood.

Camera language for each frame: Pentax K1000, 50mm f/1.4 prime, available light only, no fill flash. The whole composition should feel touched — not designed.

Negative space: muted dark wood background between the four frames, like the scrapbook page they're resting on. A few specks of dust visible.

Aspect ratio: 9:16 vertical. No text, no captions, no studio watermarks, no logos.