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Ten (2002)
"Dah" (original title)

7.5
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Ratings: 7.5/10 from 4,616 users   Metascore: 86/100
Reviews: 30 user | 77 critic | 21 from Metacritic.com

Ten sequences examine the emotional lives of women at significant junctures.

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Title: Ten (2002)

Ten (2002) on IMDb 7.5/10

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3 nominations. See more awards »
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Cast

Credited cast:
...
Driver
Amin Maher ...
Amin
Rest of cast listed alphabetically:
Kamran Adl
Roya Akbari ...
Prostitute + Lover (as Roya Arabshahi)
Roya Arabshahi
Amene Moradi
Mandana Sharbaf
Katayoun Taleizadeh
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Storyline

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 bride, 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. Written by Stephen Kirkham

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

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Parents Guide:

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Details

Country:

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Language:

Release Date:

18 September 2002 (France)  »

Also Known As:

10  »

Filming Locations:


Box Office

Opening Weekend:

$10,559 (USA) (7 March 2003)

Gross:

$105,656 (USA) (6 June 2003)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.66 : 1
See  »
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Did You Know?

Trivia

Chosen by "Les Cahiers du cinéma" (France) as one of the 10 best pictures of 2000s (#10). See more »

Goofs

Car windows, both driver's and passenger's, vary between being closed, part-open or open between shots. See more »

Quotes

Prostitute: [to a Married woman] You are wholesailers. We are retailers.
See more »

Connections

Followed by From Tehran to London (2012) See more »

Soundtracks

Walking In The Air
Written and Performed by Howard Blake
© Chester Music Limited represented by Première Music Group
See more »

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User Reviews

 
Transforming Reality into Art
30 March 2010 | by (United States) – See all my reviews

With Ten, Kiarostami pushed very far the boundaries of his 'no-plot' approach. Even an illusory plot is no more in this movie. There is a video camera mounted within a car. A woman is driving throughout the streets of Tehran, taking occasional passengers, always women (with one exception: her son). Free discussions start every time, about this and that: all take place in the car, no crew is there, no director, only the driver - woman and the passenger - woman. The approach that was taken firstly in making ABC Africa is used here brilliantly: hand-held camera to free the movie of all cinematic restrictions and to ensure the interactive participation of interprets (non-professionals, like in all his works).

Nevertheless the spontaneity has inherent limits. The director is not there, but he chooses each new personage and before each sequence he gives general instructions about what is to be discussed. The flow of discussion is subtly controlled by the woman who is driving (who is the only professional interpret, Mania Akbari; in real life she is working in the movie industry, and like the personage in the movie she is divorced; her child plays his own role).

Anyway, each sequence is no more a scene miming reality: it is pure reality. It happens in this movie what happened in the contemporary art: like Warhol and Rauschenberg and all the others who renounced of creating images to represent reality, taking real objects instead, to create art, here in Ten, Kiarostami was able to get this great mirage: he took reality from the street and transformed it into art.


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