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Mania Akbari , Amin Maher , Abbas Kiarostami  |  NR |  DVD
4.7 out of 5 stars  See all reviews (10 customer reviews)

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Product Details

  • Actors: Mania Akbari, Amin Maher, Kamran Adl, Roya Akbari, Roya Arabshahi
  • Directors: Abbas Kiarostami
  • Writers: Abbas Kiarostami
  • Producers: Abbas Kiarostami, Caley Thomas, Marin Karmitz
  • Format: Multiple Formats, Color, Full Screen, NTSC, Subtitled
  • Language: Farsi
  • Subtitles: English
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Aspect Ratio: 1.33:1
  • Number of discs: 1
  • Rated: NR (Not Rated)
  • Studio: Zeitgeist Films
  • DVD Release Date: November 2, 2004
  • Run Time: 94 minutes
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (10 customer reviews)
  • ASIN: B00031TYGW
  • Amazon Best Sellers Rank: #47,744 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "Ten" on IMDb

Special Features


Editorial Reviews

World-renowned Iranian writer-director Abbas Kiarostami (TASTE OF CHERRY, THROUGH THE OLIVE TREES) has created a deceptively simple work—shot on digital video within the confines of a single vehicle—that brings the intricate nature of Iran’s sexual and social politics into sharp focus. Seen through the eyes of a beautiful, chador-clad divorcée, the film catches her impromptu conversations with various female passengers (and her imperious young son) as she navigates Tehran’s congested and vibrant streets over the course of several days. As Kiarostami’s "dashboard cam" eavesdrops on these extraordinary and moving stories of sex, divorce, love and religion, an entirely original and fascinating portrait of modern Iran emerges. Also features the "master class" making-of documentary 10 ON TEN.

Customer Reviews

Most Helpful Customer Reviews
23 of 25 people found the following review helpful
5.0 out of 5 stars a dialogue-heavy kiarostami film. brilliant. October 11, 2004
This movie was brilliant. one camera. one car. one women, ten passengers. nothing important can occur huh? dead wrong. this movie is thorough examination of our lives. to forestall criticism, yes it was shot on low budget digital, however, this is fairly irrelevant for the style of films kiarostami makes (for one he never wants to dazzle the viewer with the beauty of images, he uses images more like an antonioni does, to create visceral multitextured symbols, and second, in ten there are no long shots of nature at all). This movie focuses in on the incredible psychological and interpersonal complexities of the daily life of one iranian woman. although it is in that sense a 'glimpse into iran', I believe the message of the movie is more universal, as this type of complexity exists everywhere. and again, while the woman is an incredibly strong female character in a society that does not treat women incredibly well (although much better than anything the taliban did), the movie is more universal than simply a political attack on iranian patriarchy. Here we have a camera that practically never moves, focused in on the people speaking to each other in a car, creating the quite real sense that one is trapped in the car with them unable to get away from their endless verbal confusions, miscommunications, attempts at control, manipulation, communication, bursts of anger, joy, exasperation, banality, calmness, and so on. This is sartres no exit in a moving car. it is beckett in iran. however, (not to take anything away from either of the two), the language here is comletely natural, organic, and unforced. the central dialogue is between mom and son. Read more ›
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13 of 15 people found the following review helpful
5.0 out of 5 stars Cinema at its best December 24, 2004
Format:DVD|Verified Purchase
In addition to providing an important window on Iran, that should challenge any stereotypes that may be held by Westerners about this country that figures so frequently in the news of late, this film is really a remarkable and powerful film, by one of today's most important filmmakers -- Abbas Kiarostami compares very favorably in my mind with the great Auteur directors of the 60's and 70's, such as Bergman, Fellini, Antonioni, Godard, Truffaut.

This film is an instance where the truism that less is more really fits. There are two camera angles in this film: medium shot of the driver and medium shot of the passenger. As Kiarostami explains in his very worthwhile set of lessons on filmmaking "Ten on Ten" (included on this disc), this camera angle is both extremely simple and very versatile. It is perfect for enabling a character to engage in dialogue that is not artificial -- because it is natural for a character to speak facing forward when he or she is in the car, and because effectively it sets the viewer in the other seat. It also allows the viewers to focus on the main characters of the film, and allows the director to create a scenario for these characters, while at the same time allowing for the unpredictable and unplanned to take place in the background, outside of the window.

While the characters in the film are not actors, they perform their roles extremely well. As Kiarostami explains (drawing upon, I think, an idea first put forward by Bazin) anybody is capable of playing perfectly a single role for film: the part of themselves. The director enters the picture by setting up conditions under which the characters are free to play this role, without it seeming artificial, at the same time as they fulfil a larger objective demanded by the film as a whole.
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2 of 3 people found the following review helpful
5.0 out of 5 stars Another Skilled Screenplay February 28, 2006
Ten on Ten expresses humanity in its rawest form , an animal all too familiar for Mr. Abbas Kiarostami . In this case humanity was an improvisational story told through the daily life a single mother while driving . Picking up family members , friends , and strangers in her car while passing the time talking of life's short comings , the main character is sure to reach beyond the boundaries of the screen and touch the heart of ever individual watching . Each character , oozing with personality , riding in her car captures her imagination . As liberal as that imagination is , still she finds herself experimenting with the strengths and faults of each character .

At the end of the day , however , she never looses sight of her inherent existentialistic threads and metaphorically sighs relief each time a passenger leaves the vehicle . Beware , though , this film is sure to leave you hungry for more Abbas Kiarostami ...

But the question remains: was this film a premeditated thought or was it improvision at its best ?
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5.0 out of 5 stars Razor-Sharp Depiction of Women's Lives November 18, 2013
Comprised of a series of ten sequences shot on video inside a car, TEN depicts a series of conversations between the driver (Mania Akbari) and various passengers, including her son Amin (Amin Maher). There is no plot to speak of; the cinematic style is basic (comprised of a series of intercut close-ups between the driver and her passengers), yet the film manages to be utterly compelling. This is chiefly due to its subject- matter; through the conversations we learn a lot about the driver's life and thoughts - how she is at once willing to give advice to others yet experiencing agonies of parenthood. At some points she gives sound advice; at others we see just how difficult she finds it to sustain a relationship with her son. Director Abbas Kiarostami makes no judgment on any of the characters, being more interested in giving them the chance to tell us about themselves. The sequences between mother and son are particularly powerful; neither actor holds back as they talk to one another, while Kiarostami's camera focuses intently on their various emotions. Definitely worth looking at.
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