Capture 10 Presented By Geoff Andrew Shown As Script

movie lovers the following statement must be a sacrilege, but I can't help it: Having read this book I feel so well informed, I probably don't really have to see the movie anymore.
Which then again sounds like an enormous praise of the book, Yet then again, it's overall rather brief, and feels like raising all the aspects of what has to be said, but doesn't go too deep into interpretations or speculations either.
Excellent short book on a modern masterpiece, Essential introduction to this film and its important director, Like other entries in the BFI Film Classics series, this is a briefpages in small format exploration of a particular film, this time Abbas Kiarostamis Ten, with numerous illustrations.
Andrew spends more time than other entries in discussing the directors early work and the national and international cinema context, which ultimately leaves less space for Ten.
Andrews covers the basics and gives a little context of Irans limitations on filmmaking, but in spite of access to Kiarostami and his lead actress, he doesnt really get behind the scenes.


Andrew claims several times that Ten is a masterpiece, though in my own ranking of Kiarostamis mature work, this film is down near the bottom.
My appreciation of Ten was not much deepened by the book, and I found especially tiresome the conclusion to this book that reads like a fanbois gushing about his idol.
Iranian Abbas Kiarostami burst onto the international film scene in the earlys andas demonstrated by the many major prizes he has wonis now widely regarded as one of the most distinctive and talented modernday directors.
In, with , 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 documentarylike in its style, 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 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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