Review of Ten (2002) by Sergio R — 30 Dec 2007

Fascinating piece with a strong feminist focus dealing mainly with the day-to-day life of a middle-class divorced woman in contemporary Tehran as it can be gathered through ten snippets of conversations which take place in the car she is driving, although we also get glimpses of other women's lives and there is a strong sense that the picture is meant as universal.

These conversations are presented through static set-ups framing only one actor at a time, often without inter-cutting for the dialogue, so that we'll behearing both sides of the conversation but seeing only one.

This is disquieting at first, and amongst other things suggests that some of the conversations aren't quite two-way. The unconventionality of the set-up is soon absorbed, though, and you stop thinking of technicalities to be absorbed by the story - or rather, multitude of stories.

Acting is outstanding throughout - the naturalism of the actors is paradoxically enhanced by the contrivances of the fake documentary style, so that there is a strong feeling of real life being experienced throughout (which is clearly not the case at all).

Furthermore, there is plenty of humour throughout, and Kiarostami directs with the lightest of hands; indeed, the fact that he cannot have been physically present throughout the shoot makes you marvel at how assured his direction is.

Never mind how - the result is entrancing. Don't let the aridity of the set-up put you out: this film not only involves you from beginning to end, it is one of those you carry with you afterwards.

(if anyone happened to read the previous version of this review, sorry for the couple of blatant mistakes now amended - my memory was playing tricks with me.).