Probably interesting to see contemporary Iran at the time it is as made but hasn't aged well. Just a boring set of car journeys with neurotic women. The child adds the most colour and acts superbly. Felt like a wasted 90 minutes, I felt no depth or purpose in the film. Main actress is beautiful.

'Ten' is a minimalist film full of realism that far exceeds other similar films. It approaches Iranian society in a rather unconventional way, lacking however some elements that would make it engaging for the viewer.

Discussions on feminism? I definitely prefer Panahi's Taxi.

10 has some powerful performances, particularly from the young Amin Maher. It occasionally offers insight on gender roles and religiosity in Iran (although nothing that hasn't been said before). However, I can't shake the feeling this is a movie anyone could make. Anyone can mount a couple consumer-grade cameras on the dashboard of a car, have their actors drive around without a script or director, then edit the footage down into 10 unconnected (and somewhat repetitive) segments and call it a movie. It may have been a bold approach, but it is ultimately a let-down.

This seemingly random collection of vignettes is so formally fascinating and flawlessly performed, I thought it was a strict documentary. But as he's proven before in Close-Up, Kiarostami has no problem walking all over the line between fiction and documentary. Those vignettes together present an emotionally complete arch. By giving us such a specific viewpoint of a modern Iranian woman navigating (literally and figuratively) through life, it actually becomes a relatable parable of human connection.

I realized its agenda attached & the constraints for making films in Iran. But this was just way too improvising. And my ears hurt...

Sometimes the simplest ideas are the best. The conceit of Ten is yawn-inducingly uncomplicated: ten conversations between Mania Akbari, a twice-married Iranian woman taxi driver, and her passengers over 48 hours, captured in long static shots from a digital camera secured to the dashboard. As Akbari traverses the city streets, she converses with, among others, her willful son, a jilted bride, a local prostitute and a woman travelling to prayer. What emerges is a fascinating mosaic of the role of women within a repressive regime. Yet, through the accumulation of telling details, a rounded backstory for Akbari slowly starts to coalesce, producing some extraordinary moments. Brilliantly performed, the effect is as direct and intimate as a confession, a halfway house between fiction and documentary. It's a master working in a minimalist mode, but no less thrilling for that.

Unlike any film you'll ever see.

I wanted to punch that kid so hard.

- <i>And Life Goes On...</i> (1992) - <i>Through the Olive Trees</i> (1994) - <i>Taste of Cherry</i> (1997) - <i>The Wind Will Carry Us</i> (1999) These four spectacles proved, among many things, one peculiar aspect: Kiarostami is the best director ever to film conversations and extraordinarily absorbing journeys inside cars. He is a fan of in-car scenes and the astonishing rural and natural landscapes surrounding the four wheels. Well, why not make a whole film about it?? An idea sounding as insane as the degree of quality of the resulting film, <i>Ten</i> provides 10 insanely realistic journeys through the streets of Tehran seen through the eyes of a middle-class Tehran female car driver with many passengers, including her own son. The steps for this were easy: 1) Set two digital cameras on both sides of the car: the driver and the passenger. 2) Hire unprofessional actors to add a sense of realism. 3) Divide your feature into ten segments, the easiest rounded number to remember, and add social criticisms and heated discussions about marital and extramarital affairs, about family instability and the most obvious topic in Iranian cinema: the extremely insane, sexist, oppressive, chauvinistic, retarded and unfair life difficulties of women in modernity living in morally underdeveloped, close-minded and animalistic "societies" such as Iran and Saudi Arabia. Truly, I had never seen Kiarostami so angry and explicit at his own culture against women!! 4) Let them speak. Let the "screenplay" be partially improvised and base it on personal experiences of the actual actors. 5) Be chosen by "Les Cahiers du cinéma" (France) as one of the 10 best pictures of 2000s (#10), ranked #47 in Empire magazine's "The 100 Best Films Of World Cinema" in 2010, and Ranked #447 in Empire magazines "the 500 greatest movies of all time" in 2008. Yup, easy steps. Believe it or not, a film based 100% on dialogue can be brilliant, because the power of the spoken word is massive. Kiarostami experiments for the very first time with the cheap look of digital cameras and what could have been, perhaps, his riskiest project if it had not been because of his renowned auteur reputation already established by the time. Performances were extraordinary considering the experience of the actors and the elements of improvisation allowed throughout its development, and the fact that the film made me wish to throw the kid in the middle of the highway to be run over by a cement trailer of 10 wheels so that he could stop screaming such ignorant and stupid nonsense proves that the cast achieved its purpose, and that little brat bastard can surely act! 86/100

totally mysterious what's happenned behind the scene, how to manage characters, script and insanely idea

Never a film captures the darkest side of marital relationships so strong and intensely. Here the director again comes with his no nonsense style of direction and tells us a divorced woman's daily journey and conversation through the dashboard camera basically in ten consecutive segments.The film relentlessly depicts the actual condition of women in the age of male patriarchy,especially in middle east Asia.One just cant deny the experience and make him realize the futility of the institution called marriage and suffering done specially to the innocent deserted children.

Slow going for the first half hour, but it picks up after that. Interesting take on direct cinema, and a good movie to practice Farsi listening comprehension, but a bit bland otherwise.

A great film of the state, the oppression and liberation, of women, and not just in Iran, or more backward countries.

Pure in its utmost minimalist cinematic style, this film is mind-blowing in delivering one of the most powerful portrayal of human interaction. Unforgettable.

Equal parts dull and utterly rivetting, Ten is a real paradox of a movie that shouldn't work on any level but in fact soars on almost every level. Kiarostami proves once again that he's fearless behind the lens, crafting a fascinating and totally unique experience that is a must-see for any fan of cinema as art. Following one woman as she drives across modern Tehran and engages with a variety of different passengers, this is an intriguing character study that sees incredible performances from Mania Akbari and her on-screen son Amin Maher, who plays one of the most naturally manipulative children the big-screen has ever seen.

Again! Again! Abbas did a great job! I think he cannot do this film twice! What an experimental semi-documentary! The dialogues are so spontaneous; it's a dialogue not only between the casts, but also between the casts and audiences...

Totalmente realista! uma visão do mundo reprimido das mulheres iranianas. Um grande debate sobre a sociedade, que ocorre todo dentro de um carro. Prende o espectador atà (C) o fim e o faz refletir sobre as questões contemporânias. Feito de forma bem simples, o filme à (C) inspirador e maravilhoso.

Very original minimalistic piece of art.

Abbas Kiarostami makes an experimental film that suffers from all things that experimental films suffer from while you first start to watch. You wonder why they decided to make a film this way, blah blah, boring, talking too much, blah blah. But as the film continues, the main character change from person to person becomes quite interesting which sets up the ending beautifully. The ending is subtly powerfully which you would come to expect from a director like Abbas Kiarostami. I really liked the moment the when the woman towards the end shows her "hair" and the conversation with the prostitute is very well written. If you stick through this film, you will be rewarded. But warning, sometimes what makes the film good, also makes it suck. But in the end I liked it. Good/Ok Concept Good/OK Execution. Watch it if you are into high-art/experimental/foreign films!