A perceptive and revealing portrait of contemporary Iran set in Tehran, 'Ten' begins with a beautiful and articulate female driver picking up her young son from school. After boldly revealing in a less than harmonious exchange that the woman has divorced her husband, the film goes on to meditatively explore the relationships that develop between the driver and her disparate passengers over the course of ten brief but intricately mapped-out journeys.
Intelligent cinema, heavy yes, a hollywood antidote.
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- Ten review by CP Customer
I found the dialogue in the first conversation between mother and son unconvincing and contrived. It appeared more akin to what an adult male might have thought, with hindsight, what he would have wanted to have said when he was that age. The second conversation being equally as contrived I couldn't watch any more. Have seen many great Iranian films. One learns much more about contemporary Iran in films such as About Elly, and the Separation.
This film is set in the front seat of five cars in Tehran. The reason for the claustrophobic surroundings is that the cars are all driven by women, and their passengers are women in four cars and a boy in the other. The boy is the son of the first woman in the film, and she is divorced from his father. The reason for him being in the car is that she is driving the boy to school. He is not a pleasant boy and is very angry with his mother. Another reason for him being there is that the director, Abbas Kiiarostami, wants to show us is that in Iran, and indeed all over the world, some men are not always particularly nice to women. The other women have passengers who are all treated quite badly by men, although in the passage about the prostitute, this woman seems to be very fatalistic and worldly about the opposite sex.
It is a riveting film, and although the women seem to be well off enough to be able to drive good cars, they appear to be trapped in a system which men rule. Hence the claustrophobia.