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Not rated. () |
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(543) |
317 |
1953 |
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(210) |
123 |
754 |
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(333) |
193 |
1198 |
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Plot: A drama that consists of a series of ten conversations that take place between the driver of a car, a middle-class Tehran woman in her 30's, and various passengers, including her young son.
Meet Other Fans
Recent Reviews
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MCT:October 9, 2008I like film's photography, but well, it's not really necessary, not when you know what you're doing. Or: a film to watch with the eyes closed.
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MCT:August 11, 2008
I found this sublime in an extraordinary manner. I mean, looking at it, it feels like it is carping on issues but not entirely, it is more on the difficulty of relationships. I found the female character to be somewhat an odd character, strong on one hand and yet weak and all having to do with men. Her son, ex-husband and present husband and the other women's husbands and so on. I just found the stories here fantastic and anyone with any link to a female would be able to grasp this and feel something out of this.
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MCT:July 27, 2008In Taste of Cherry, the shift from narrative to documentary not only adds another layer to the film but separates and distances the audience and therefore creates a space for his/her presence in the film. For example, in the final sequence, where the hero lies in his grave, a long fade shifts the film from the narrative section to a behind-the-scenes documentary (shot on video) where we see Kiarostami and his crew. The long fade becomes a trigger for viewers to start feeling their own presence, as well as a mirror to see themselves in. It also motivates them to think about the ways they can understand the shift from the narrative to the documentary, as well as the change in formats from film to video.
Kiarostami, in his movement towards a plotless cinema and a minimal and elliptic compressed narrative, has also used the dark screen in a number of his films, serving similar goals in terms of the audience?s involvement. The dark scene in the cellar where the young village girl is milking the cow while the hero is citing Forough?s poetry to her in The Wind Will Carry Us (1999), and the seven minute black scene in A.B.C. Africa (2001) where we hear Kiarostami talk, beautifully challenge the audience?s expectations as well as celebrating the creative use of sound. This striking moment in ABC Africa occurs when Kiarostami stops talking as he enters his room in complete darkness. We hear him drawing the window?s curtain but we don?t see anything for awhile. Suddenly a lightning bolt reveals the view of trees for a second. The image has become magical because it is delayed and anticipated for a long time.
Close-Up
Another way that Kiarostami invites the creative participation of his audience can be seen in his film Close-Up, where he interrupts and undermines the expected dramatic flow of the story-line with minor characters whose lives are not considered dramatic or important. He also mixes fact and fiction in such a way that it is impossible to separate the two. The non-chronological order of the scenes in the film which offer different points-of-view urge the audience to make sense of the story (putting it in their order), as well as asking them to judge the characters on their own terms.
Close-Up not only refers to the role of cinema in Iran as a means of power, popularity, and social mobility, similar to the role of basketball for black youth in America, but it also confronts the viewer with her/his own relationship to cinema. Kiarostami criticises the role of media and the media-maker in deceiving the audience ? a contemporary universal issue. In this film more than his other films, Kiarostami reveals the characters through their lies and performances. Hence Kiarostami?s quotation "the shortest way to truth is lie." (3) -
MCT:May 13, 2008
I've reviewed this film on my blog already. However, I will add one thing here. This is very well directed, very emotional, very personal, and one cannot help but be jealous of the director.
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MCT:March 6, 2008
More like a documentary than a movie, this movie is broken into ten segments, each discussing an aspect of the new Iranian society. The main protagonist is a young beautiful divorcee who has different conversations with her son, her sister, a prostitute, an old woman, and another woman who's been jilted by her lover. They discuss topics ranging from sex, philosophy to relationships - typical of the new social aspects of Iranians society. The movie has been shot by a single camera mounted inside a car which captures frank conversations between the driver, and her passengers.
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MCT:August 21, 2007
Brilliant documentary from Kiarostami's favorite POV - in a car driver's seat. An extremely insightful look at the modern woman in Iran. Riveting performances.
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MCT:May 29, 2007Hmmm... a bit too arty for me! Filmed like a home video and entirely shot in one Iranian women's car, this film explores both Iranian and womens' life through her various passengers.
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MCT:March 14, 2007
Ten, the latest film by Iranian master filmmaker Abbas Kiarostami, focuses on ten conversations between a female driver in Tehran and the passengers in her car. Her exchanges with her young son, a jilted bridge, a prostitute, a women on her way to prayer and others, shed light on the lives and emotions of these women whose voices are seldom heard.
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MCT:March 14, 2007One car and two shots is all Kiarostami needs in order to produce another stunning film. The film subtley portrays gender relations in modern day Iran all through conversations taking place in a car. Brilliant!
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MCT:March 8, 2007Horribly boring. Nothing interesting to say. Just dull visually and orally. I spent more time wondering how Kiarostami put together the film than thinking about anything in the actual film itself. The film is extremely realistic, yes but this is cinema. Realism is fine if there's a point to it. This is just meandering conversations loosely revolving women in Iran. But for every small observation, there's another several two or three minute interludes devoted to talking about such interesting things as which gears are the fastest (and which gears are the slowest. and which gears are the middle ones. and on and on). And yes, it shows Iranian women and their situations. So? It doesn't add anything I didn't know. It doesn't tell me anything important. It's a completely useless film and one I strong recommend avoiding unless you like being bored. Ebert's review of this is spot-on.
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MCT:November 18, 2006
Great Iranina film.
I shows a very interesting cross-section of views, it's interesting how she manages to make even the most relunctant talks portray their views.
Comments
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