Download 10 (BFI Modern Classics) by Geoff Andrews PDF

By Geoff Andrews

Iranian Abbas Kiarostami burst onto the foreign movie scene within the early Nineteen Nineties and--as established through the numerous significant prizes he has won--is now largely considered as essentially the most certain and proficient modern day administrators. In 2002, with 10, Kiarostami broke new flooring, solving one or electronic cameras on a car's dashboard to movie ten conversations among the motive force (Mania Akbari) and her a number of passengers. the consequences are fantastic: notwithstanding officially rigorous, even austere, and documentary-like in its kind, 10 succeeds either as emotionally affecting human drama and as a serious research of lifestyle in today's Tehran.
In this examine, Geoff Andrew seems to be at 10 in the context of Kiarostami's occupation, of Iranian cinema's fresh renaissance, and of overseas movie tradition. Drawing on a few specific interviews he performed with either Kiarostami and his lead actress, Andrew sheds mild at the strange equipment utilized in making the movie, on its political relevance, and on its remarkably refined aesthetic.

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Extra info for 10 (BFI Modern Classics)

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46 (ii) The Narrative With the exception of a single shot, 10 is set entirely within the confines of a car being driven around the streets of Tehran, and shot using just two angles, with the camera or cameras situated roughly in the middle of the dashboard and directed either at the driver's or the passenger's seat, regardless of who's speaking at any given moment. There is no discernible camera movementY The narrative is divided into ten chapters or segments, each comprising a different dialogue.

The end of Ihe r Taste of Cherry Where next? The Wind Will rry Us 149 50 I BFI MODERN CLASSICS A woman's lot? ABC Africa Wher In need of money or 52 SFI MODERN CLASSICS Is it really so terrible? Breaking the frame? Breaking the law? Breaking the illusi A Taste of Cherry 541 SFI MODERN CLASSICS Who's there? The Wind Will Carry Us What's out there in the darkness? ABC Africa What's beneath our very feet? 100n Ten (MK2 Production, 2004) Distant: Five (MK2 Productions. 2004) Stray dog: Five Drifting clouds: 561 SFI MODERN CLASSICS Reflected.

94 Such deceptions have played an important part in Kiarostami's methods for years. '95 Unseen characters abound in Where Is the Friend's House? and the other Koker films; key events are not shown (or, indeed, properly heard) in Close-Up; over a dozen characters in The Wind Will Carry Us are never shown;96 and the centrality and artifice of ABC Africa's hotel-blackout scene were earlier noted. Kiarostami makes very telling use of secrets, lies and invisibility, and in 10 on Ten quotes both Bresson - to the effect that art is created not by addition but by subtraction - and Nietzsche: 'That which is truly deep needs a mask' It is all part of making viewers use their imaginations: When you see Mania asking someone if they want to move out of a parking place, it would be pointless actually to show that person; your imagination helps you to 'see' things that aren't shown.

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