By Geoff Andrews
Iranian Abbas Kiarostami burst onto the foreign movie scene within the early Nineties and--as validated by way of the numerous significant prizes he has won--is now largely considered as the most exact and gifted modern day administrators. In 2002, with 10, Kiarostami broke new floor, solving one or electronic cameras on a car's dashboard to movie ten conversations among the motive force (Mania Akbari) and her numerous passengers. the consequences are excellent: notwithstanding officially rigorous, even austere, and documentary-like in its sort, 10 succeeds either as emotionally affecting human drama and as a serious research of lifestyle in today's Tehran.
In this examine, Geoff Andrew seems to be at 10 in the context of Kiarostami's occupation, of Iranian cinema's fresh renaissance, and of foreign movie tradition. Drawing on a few specified interviews he carried out with either Kiarostami and his lead actress, Andrew sheds gentle at the strange equipment utilized in making the movie, on its political relevance, and on its remarkably refined aesthetic.
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Extra resources for 10 (BFI Modern Classics)
But two things changed his mind about the direction the film would take. One was the realisation that, since analysts don't really speak in therapy sessions, any such film would border on a monologue. The other was Mania Akbari, a fan of his work who wrote to Kiarostami offering her services before or behind the camera as soon as she heard he was making a film about women. She describes their initial meeting: I didn't learn much about the film; he only wanted me to talk about my life and opinions: whether I was a feminist, how I perceived women's roles, their difficulties, their strengths.
73 The character, the actor and the film itself The 'dramatic climax' Mania's friend unexpectedly unveiled 10 \ 59 are all in transgression of the Islamic Republic's codes; 74 and what makes the act still more affecting is the way it is gently encouraged and applauded by Mania, whose hand enters twice from the right-hand side of the frame to wipe a tear from her friend's cheek, in a simple, understated, profoundly eloquent display of sisterhood. Till then, the film's idiosyncratic visual strategy has kept the characters separate, locked in compositional boxes; it's as if Kiarostami were telling us that rules - social or self-imposed, cinematic or ideological- can and probably should be broken when human needs and happiness are at stake.
At any rate, whatever the reason, with 10 he made up for lost time. (v) The Passengers With the sole exception of her son (who appears in four chapters), all Mania's passengers are women: her married sister, who accompanies her when she goes to buy her husband a birthday cake; an old woman walking to a shrine to whom she gives a lift; a young prostitute she quizzes about her work; a woman of roughly her own age whom she meets when she starts visiting the shrine herself, and to whom she gives a second lift in the penultimate chapter; and a friend distraught at the fact that her husband of seven years has left her.