10 (BFI Modern Classics)
10 (BFI Modern Classics) by Geoff Andrews, published by the British Film Institute on April 19, 2005, is an insightful exploration of Iranian director Abbas Kiarostami’s groundbreaking film, 10. This edition, consisting of 88 pages, delves into Kiarostami’s innovative approach to filmmaking, particularly his use of digital cameras mounted on a car’s dashboard to capture ten conversations between the driver and her passengers. The book provides a comprehensive overview of how this technique contributes to both the emotional depth and critical examination of everyday life in Tehran.
In this study, Andrews contextualizes 10 within Kiarostami’s broader career and the recent renaissance of Iranian cinema, while also engaging with international film culture. The author draws on detailed interviews with Kiarostami and lead actress Mania Akbari to illuminate the unique methods employed in the film’s production, its political significance, and its subtle aesthetic qualities. Readers will find a thorough analysis that not only highlights the film’s artistic merits but also situates it within the landscape of contemporary performing arts.
Official synopsis Publisher
Iranian Abbas Kiarostami burst onto the international film scene in the early 1990s and–as demonstrated by the many major prizes he has won–is now widely regarded as one of the most distinctive and talented modern-day directors. In 2002, with 10, Kiarostami broke new ground, fixing one or two digital cameras on a car’s dashboard to film ten conversations between the driver (Mania Akbari) and her various passengers. The results are astonishing: though formally rigorous, even austere, and documentary-like in its style, 10 succeeds both as emotionally affecting human drama and as a critical analysis of everyday life in today’s Tehran.
In this study, Geoff Andrew looks at 10 within the context of Kiarostami’s career, of Iranian cinema’s recent renaissance, and of international film culture. Drawing on a number of detailed interviews he conducted with both Kiarostami and his lead actress, Andrew sheds light on the unusual methods used in making the film, on its political relevance, and on its remarkably subtle aesthetic.
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