By Geoff Andrews
Iranian Abbas Kiarostami burst onto the overseas movie scene within the early Nineteen Nineties and--as validated through the various significant prizes he has won--is now broadly considered as the most designated 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 driving force (Mania Akbari) and her a number of passengers. the consequences are stunning: although officially rigorous, even austere, and documentary-like in its variety, 10 succeeds either as emotionally affecting human drama and as a severe research of daily life 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 contemporary renaissance, and of foreign movie tradition. Drawing on a couple of distinct interviews he carried out with either Kiarostami and his lead actress, Andrew sheds mild at the strange equipment utilized in making the movie, on its political relevance, and on its remarkably sophisticated aesthetic.
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Additional info for 10 (BFI Modern Classics)
The electricity is suddenly turned off for the night, and as we watch a black screen we hear the men fumbling their way And life goes on: the director finds love among the ruins in ABC Africa SFI MODERN CLASSICS to their rooms, wondering how people who spend so much of their lives in darkness manage - at which Kiarostami notes that, while they themselves are having problems after just five minutes, the remarkable thing about humans is that they can adapt to anything (catastrophes included, we presume).
A makeshift coffin is made, and the corpse carried to a waiting bicycle, on which it's precariously balanced and wheeled away - to the rising sound of children in song; a cut introduces a sea of kids in bright yellow uniforms, and young women dancing. This entire sequence lasts five minutes, and is the only time we're shown the kind of images one would expect in such a film; even then, the Iranians don't let their cameras linger on any individual's suffering. The music, colours and laughter again show that 'life goes on'; Kiarostami, speaking of the vitality and beauty he found in Uganda, has pointed out that if one person in ten has died due to AIDS or war, we should not forget that nine out of ten are still alive.
But it's important just to be moving 62 For 10, Kiarostami had himself taken a journey into uncharted territory, since this was his first film with a female protagonist. Indeed, the fact that he'd never focused on female experience before had been seen by some as a failing,63 though as Mehrnaz Saeed-Vafa points out in discussing the shortage of women in his work, 'what is interesting is that often in his films, absences strongly suggest presences' 64 And in 1999, when asked why he hadn't shown more women in his films, Kiarostami gave the following response: Frankly, I think my perspective on Iranian women is completely at variance with what you see in contemporary Iranian films.
10 (BFI Modern Classics) by Geoff Andrews