A rare chance for viewers to eavesdrop on everyday talk in Tehran that, although fictionalized, must approximate what really happens in Iran's busy capital.
Ten (2003)
Tomatometer
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Reviews Counted:51
Fresh:44
Rotten:7
Average Rating:7.3/10
Consensus: Ten turns a conversational car ride into a gritty and compelling character study full of real emotion while providing an intriguing look into the lives of women in contemporary Iranian culture.
Theatrical Release:Mar 5, 2003 Limited
Synopsis: In TEN, celebrated Iranian writer-director Abbas Kiarostami (Taste of Cherry, Through the Olive Trees) once again casts his masterful cinematic gaze upon the modern sociopolitical landscape of his... In TEN, celebrated Iranian writer-director Abbas Kiarostami (Taste of Cherry, Through the Olive Trees) once again casts his masterful cinematic gaze upon the modern sociopolitical landscape of his homeland -- this time as seen through the eyes of one woman as she drives through the streets of Tehran over a period of several days. Her journey is comprised of ten conversations with various female passengers -- including her sister, a hitchhiking prostitute and a jilted bride -- as well as her imperious young son. As Kiarostami's "dashboard cam" eavesdrops on these lively, yet heart-wrenching road trips, a complex portrait of distaff Iran comes sharply into focus. -- © Zeitgeist Films [More]
Director: Abbas Kiarostami
Director: Abbas Kiarostami
Studio: Zeitgeist Films
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Reviews for Ten
When you stagger out of the theatre after watching the new Iranian movie Ten, you may find yourself wondering just what, exactly, was the point.
Ten may strain your patience but that's the high-stakes gamble of this provocative project.
A conceptual tour de force and a brainiac's road movie, Abbas Kiarostami's Ten goes from chilly abstraction to hot emotion in less than 60 seconds.
It shows us, in an extraordinarily simple way, the hopes and frustrations of one woman's life.
Very soon it's clear that even from a camera trained on the front seat of a car, an amazingly full and complex portrait of Iranian life can emerge.
Ten has been praised as a further distillation of Kiarostami's already minimalist cinema. That's true enough, even if his movies still have a tendency to make us carsick.
No ordinary moviegoer, whether Iranian or American, can be expected to relate to [Kiarostami's] films. They exist for film festivals, film critics and film classes.
A film made by a master, with a simplicity that is really revolutionary.
Thoughtful insight and human concern are evident...but...there is no dramatic momentum whatever.
Kiarostami is nothing if not patient, almost to a fault here. He allows life to happen as the film rolls, and one can't help but wonder if, to cover a lot of emotional ground, you must also cover a lot of asphalt.
... a marvelous tension between the formal design and the improvisational style.
Lacks the spiritual foundation, the individual search for beauty in the face of the world's indifference, that is the hallmark of Kiarostami's oeuvre.
Makes maximum use of a minimalist structure to deliver some cogent observations about the status of women in contemporary Iran.
Ten might not be the easiest film for Hollywood-conditioned viewers to get into or to enjoy, but it never seems like an arid experiment.
A glimpse into a society that has grown more open, more free, and also more casually selfish in its interpersonal aggression.
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