Download 10 (BFI Modern Classics) by Geoff Andrews PDF

By Geoff Andrews

Iranian Abbas Kiarostami burst onto the foreign movie scene within the early Nineties and--as verified via the various significant prizes he has won--is now commonly considered as the most specified 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 driving force (Mania Akbari) and her quite a few passengers. the implications are spectacular: notwithstanding officially rigorous, even austere, and documentary-like in its type, 10 succeeds either as emotionally affecting human drama and as a serious research of daily life in today's Tehran.
In this learn, Geoff Andrew appears to be like at 10 in the context of Kiarostami's occupation, of Iranian cinema's contemporary renaissance, and of overseas movie tradition. Drawing on a couple of specific interviews he performed with either Kiarostami and his lead actress, Andrew sheds mild at the strange tools utilized in making the movie, on its political relevance, and on its remarkably sophisticated aesthetic.

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Extra resources for 10 (BFI Modern Classics)

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Just as there is no camera crew, no on-set director and no professional actors, so there is no script forcing the actors SFI MODERN CLASSICS to say or do the kind of things that get said or done in worked-through fictions. 52 That said, Kiarostami is not known for conventional dramatic climaxes, and for a film so evocative of ordinary, everyday existence, he was unlikely to change his ways in this regard. If there is a 'climax', it comes when Mania's friend's scarf slips to reveal her closely cropped hair, and continues through the moment when Mania wipes a tear from her cheek.

I really 44 \ BFI MODERN CLASSICS don't want viewers to judge my characters, which is why sometimes I don't show them at all. 56 That said, we do see and hear the boy, and it's impossible - even with the strident voice off-screen - not to feel, watching this sequence, that he's at the very least 'difficult' If he is to be the central character, it's unlikely we'll be able to identify with him easily. But we already know that from other Kiarostami films. , but Kiarostami provides few figures we actively admire and want to imitate.

If I didn't show Mania's face, I felt that any mother in the audience would be able to understand her; they wouldn't judge her by her appearance. I really 44 \ BFI MODERN CLASSICS don't want viewers to judge my characters, which is why sometimes I don't show them at all. 56 That said, we do see and hear the boy, and it's impossible - even with the strident voice off-screen - not to feel, watching this sequence, that he's at the very least 'difficult' If he is to be the central character, it's unlikely we'll be able to identify with him easily.

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