Ten ★★★★

Like all Abbas Kiarostami's films, Ten has an uncomplicated form and structure that conceals delicate anecdotes of human nature and human relations.  It's a radically minimalist movie that involves just ten conversations in a car shot from two fixed cameras showing a woman driving around the city and simply talking to the people to whom she gives lifts.

The beginning fifteen minutes of the film features a discussion between the movie's main character, a divorced young mother, played by Mania Akbari, arguing with her real-life son Amin. Their conversation soon becomes heated as she drives him to a swimming pool as she attempts to explain to him how humiliating it had been for her to secure a divorce. It's both remarkable in its passion and sets the stage for the subsequent nine chapters and the remaining dialogues that examine the personal lives and attitudes of the driver and her passengers. 

The conversations gradually accumulate to illustrating a broad picture of the circumstances of Iranian women, where even the image of a woman at the wheel of a car is a political and feminist statement. Conversations present diverse opinions about women in Iran and look at various issues from a woman's perspective; one of the recurring themes in the film is that, in Iran, men dominate society and disturbingly constrain women's desire for emancipation.

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