In 1969, Mani Kaul made the film Uski Roti which brought in radically fresher environment in Indian cinema. Kaul drew aspects of Indian philosophies, e.g., Vaisheshika school of Hinduism that like Buddhism accepted two reliable means of knowledge – perception and inference. Could absence be perceived in or through presence? Could time be perceptibly felt? These were some of the ideas that Kaul grappled with. Fifty years after, through my Prayoga film The Falling Fruit. The Frozen Time. And the Five Variations on Mani Kaul’s Uski Roti, I am revisiting Kaul’s film, creating five variations from its key inaugural shot which has become my basic note. Here, time suspends itself and makes the absence felt. The film is made with regular mobile phones and homemade equipment. These are the elements of The Rigour of Austerity which is the core principle of film theorist Amrit Gangar’s concept of Cinema of Prayoga.