Ten - 2002
Directed by Abbas Kiarostami
A mother drives around Tehran and has ten separate conversations with several different passengers. Kiarostami once again experiments with digital video in capturing the hours of conversations that used to cut down into the narrative.
Color, 1 hour 30 minutes, Farsi
Trailer currently not available, Watch Scene (Farsi w/English subtitles)
Star Rating
Firouzan Rank # 47
Cast
| Mania Akbari | The Driver |
| Amin Maher | Amin (Her Son) |
| Roya Arabshahi | |
| Katayoun Taleidzadeh | |
| Mandana Sharbaf | |
| Amene Moradi | |
| Kamran Adl | |
| Morteza Tabatabaii | |
| Bahman Kiarostami | |
| Mastaneh Mohajer | |
| Mazdak Sepanlou | |
| Reza Yazdani | |
| Vahid Ghazi |
Crew
| Writer | Abbas Kiarostami |
| Director | Abbas Kiarostami |
| Producer | Marin Karmitz Abbas Kiarostami |
| Director of Photography | Abbas Kiarostami |
| Editor | Vahid Ghazi Abbas Kiarostami Bahman Kiarostami |
| Music | Howard Blake |
Pictures
Young Amin (Amin Maher) is upset over his mother's divorce of his father.
The driver (Mania Akbari) is revealed at the end of the first conversation.
The driver's sister uninhibited by the camera.
Taking an elderly woman for Friday Prayers at a local shrine.
Giving a ride to a prostitute who is not the most polished conversationalist.
The prostitute quickly finds a real customer.
Picking up another visitor to the shrine.
Amin looks on as his mother goes to buy the night's sweets.
One of the happier moments in the driver's conversations with her son.
Revealing an unorthodox haircut.
DVD
External Reviews
By A.O. Scott The New York Times
"Ten" consists of a series of conversations -- the title tells you how many -- that take place between the driver of a car, a middle-class Tehran woman in her 30's (Mania Akbari), and various passengers, including her young son. The director, Abbas Kiarostami, in addition to being perhaps the most internationally admired Iranian filmmaker of the past decade, is also among the world masters of automotive cinema. But while his action-minded colleagues, in Hollywood and elsewhere, view every motor vehicle as a potential fireball, the more contemplative Mr. Kiarostami understands the automobile as a place for reflection, observation and, above all, talk. Continued
By Sandrine Marques Plume Noire
A woman in a car and ten sequences, ten conversations with the passengers who take a seat in the vehicle.
Her son, first of all, surprisingly intelligent and clairvoyant regarding his parents' separation. Fed up with being the confidant and witness to maternal disillusions, he will end up rejecting her. And then, there are other women who invest the narrow cockpit of the car and who deliver a share of their intimate dramas: a disappointed lover who shaves her head, a prostitute, the pious old woman.... As many figures who testify to the condition of the women in Iran today and the desire for emancipation which is hampered by men who are still exerting their domination on this society. Continued
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