Critic Reviews



Based on 21 critic reviews provided by Metacritic.com
Iran's greatest filmmaker is fond of stripping personalities bare through conversations they have while riding in cars. Here he pushes his favorite dramatic device to its limit.
The ultimate lesson in less-is-more cinema, an intimate and revelatory character study as well as a brilliant, almost symphonic rendering of the distracted, anxious, half-alienated and half-meditative state in which we spend vast amounts of our lives.
A minimalist film, Ten looks and feels like a documentary. At the end, there is no big denouement, but a profound realization that the people we see on camera are all aching for answers -- and struggling to come to terms with their lives.
There's no doubt that Kiarostami is giving us a lesson in social politics, but the education lies in the mosaic pieced together from conversations and situations.
10 dazzling and perceptive snapshots of women with which femmes everywhere can identify.
The A.V. Club
Nobody handles unvarnished interactions quite the way Kiarostami does, and for much of Ten, it's a kind of austere thrill to watch him focus so intently on one aspect of his craft.
Washington Post
Kiarostami has been hailed as the premier humanist filmmaker at work in a larger Iranian cinematic renaissance, and all his formal signatures are on view here -- the small, intimate canvas, the loose, improvised air of the performances, the absence of an authoritarian directorial hand.
A work of inspired simplicity.
One of the best films to open so far this year, but greeting each new work from a favored director as if it were equally brilliant can't be good for anyone, the director included.
New York Daily News
The already minimalist filmmaker has gone positively threadbare with Ten, a movie that feels as if there was no director on the set. For the most part, there wasn't.

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