Iranians in 2001

Leda 2022-01-22 08:03:02

"Why don't you let the audience do some work?" "Ten" takes the main plot in one stroke, and takes the reverse in the traditional movie as the main plot (a cross-section). The whole process requires the audience's intellectual input and plot puzzles. Literary corresponding to Yaos and Isaiah, Hemingway and Carver, and Kundera at the same time—Ten not only creates blank space, but also involves space and feminism. In terms of form, it also completes an abrupt end-to-end response. Tune the movement. The great Abbas. (And, to discover the drama contained in life itself, it is Chavatini and Abbas, to dissolve fiction and reality.

Angelo 2022-04-23 07:04:14

Abbas's experimental video is a "collage" of the whole film completed by the on-board camera. The five guests and 10 stories are strung together throughout the film; the main point of view is of course the female driver, but her connection with each passenger is natural smooth; the viewing process is more like reading a "dialogue" novel; the main core narrative is outlined through dialogue; the process of clarifying the facts is also a bit tedious, and the thinking itself has a kind of hypnotic boring; " Watching, watching and falling asleep" is probably the general viewing state/experience of the audience; the content itself embeds many topics/issues in Iranian society at that time, including but not limited to restrictions on women's burqa, divorced families The intergenerational relationship between children, the relationship between men and women under the binary gender framework, and the issue of religious belief, etc.; PS: An interesting observation is that the film consciously or unconsciously presents Iranian feminism in its budding state, with "Head up" revealed the trend;