By Geoff Andrews
Iranian Abbas Kiarostami burst onto the overseas movie scene within the early Nineties and--as tested via the numerous significant prizes he has won--is now largely considered as probably the most targeted and proficient modern day administrators. In 2002, with 10, Kiarostami broke new flooring, solving one or electronic cameras on a car's dashboard to movie ten conversations among the driving force (Mania Akbari) and her numerous passengers. the implications are awesome: even though officially rigorous, even austere, and documentary-like in its type, 10 succeeds either as emotionally affecting human drama and as a severe research of lifestyle in today's Tehran.
In this learn, Geoff Andrew appears to be like at 10 in the context of Kiarostami's occupation, of Iranian cinema's contemporary renaissance, and of overseas movie tradition. Drawing on a couple of particular interviews he performed 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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Additional resources for 10 (BFI Modern Classics)
She was twenty-one, and her experience of men was very limited. She was kissed at seventeen and cried for three days; that was it until she married. Then, three or four days after the wedding, her husband had gone to Canada, where she was to join him a little later. So her experience of sexual matters was very limited, but she was quite wonderful in the film. Plus, of course, it helped that Mania felt comfortable with her. But the woman you see walking off along the street was not her but a friend of mine who I asked just to do that shot; the car she gets into was driven by Mania's husband.
It came from real life. I had a good relationship with Mania and her husband; I knew about their lives and could build on that. So I reminded Amin of what he'd thought some time earlier, and told him to say something along those lines. So the idea was mine but the dialogue belongs to the actor. 59 (iv) The Driver We first see the driver, Mania, sixteen minutes into the film, after her son has stormed from the car calling her a stupid idiot. We may be surprised by what we see. Despite the very evident strain and fatigue on her face, she looks much younger than we imagined from her raised voice and hectoring words; she's also beautiful and sophisticated-looking, well dressed and made-up, with smart sunglasses.
As they discuss which cartoons he likes, he lets drop that his dad (with whom he now lives) watches 'sexy' programmes on television late at night. It's night again; Mania collects a friend to take her out to dinner, but she sobs throughout the journey, distraught that her husband has left her. Mania reminds her there are other fish in the sea, tells her she must learn to love herself, and rebukes her for letting her happiness depend on the whims of one man. marry someone who has a daughter suitable for himself; this leads to an initially good-humoured discussion of what makes a good wife - evidently not someone like Mania, given that Amin again starts complaining that she always prioritised her needs over those of himself and his father.