Ten is a first of Kiarostami’s movie to be banned in his own country. Ten entails a chain of conversations shot with two cameras mounted on a dashboard of the car. This simple premise of Abbas Kiarostami comes a fascinating and insightful work by a master of cinema. The movie is a 2002 Iranian film starring Mania Akbari. It was nominated for the Palme d’Or at the 2002 Cannes Film Festival and ranks at number 47 on Empire magazine’s 2008 list of the 500 greatest movies of all time.
The primary cinematic expressions of this threadbare waves of avant-garde cinema is the prelude likeness within the body of the film. Thereby documented effective custom of unconventional exercise, so called carrying out gesticulation through the art form of cinema as Abbas Kiarostami always dared those display into visual ploy and the orientation of communicating the episodes had been the best in class.
This movie takes you into the conversational car ride into gritty and heartwarming issues of gender inequality and social problems arising in Iranian society, particularly the problems of women. Very touchy story indeed. Each of this episodically made, which is an anthology of ten scenes, each of which depict a conversation between an unchanging female driver (played by Mania Akbari) and a variety of passengers as she drives around Tehran. Her passengers include her young son (played by Akbari’s real life son, Amin Maher), her sister, a bride, a prostitute, and a woman on her way to prayer. One of the major plots during the film is the driver’s divorce from her (barely seen) husband, and the conflict that this causes between mother and son.
Although Ten is a fiction, Mania Akbari has said that many of the events mentioned in the conversations are based on her life, and most of the film is drawn from her own experience. Akbari went on to become a prolific documentary filmmaker herself while Kiarostami would talk further on the making of Ten in his 2004 documentary, 10 on Ten. The making of Kiarostami into his first real experiment of digital technology through the celluloid, as a possession to arrive cinema’s unsurpassed pictorial representation to a minimal degree of manifest and the chronological pauses. The abbreviations between the scenes to the near-term dialogue between spectator and screen A final point: for decades, classical film theory pondered on the appropriate metaphor to explain the screen are the finest and rare moments of cinematic delight and in some ways Kiarostami is the finest dialectician of metaphors.
Many of the cast were untrained as actors, and the film has an improvisatory element. Elements of the characters were based on the actual life of the main actress and her son. The film was recorded on two digital cameras, one attached to each side of a moving car, showing the driver and passenger respectively. Ten is a brilliant movie, its formal thoroughness and simplicity providing a flawless outline for Kiarostami’s inquisitive study of the lives of Iranian women. As you know the simplest ideas always works best. You can talk about Abbas Kiarostami for years, and still, won’t mean as much as what you can watching his movies, not saying a word, yet you feel that person with your heart, you feel like you have known the person for forever…. connections are made with the heart and wit is strikingly at best of those human emotions, so is Abbas Kiarostami.