10 + 4 (Dah be alaveh chahar)(2007)
主演：Mania Akbari Amin Maher Behnaz
导演：Mania Akbari
上映日期：2007-09-24
剧情介绍
2002年，在阿巴斯．基阿魯斯米達作品《十段生命的律動》(Ten)之中演而優則導的Mania Akban，繼上回《20 FINGERS》(第三屆)透視女性在伊斯蘭社會的面面觀，今次再以車內的時間對話，探討女性問題。4年之後，Akbari經阿巴斯的鼓勵下，執起導筒拍攝此片之際，卻傳來得了乳癌的噩耗。沒有呼天搶地的對話，也不見悲天憫人的劇情，Akbari把罹癌的事實與友人的真情對話，化為《10+4活著就是明天》電影的力量，延續現代女性面對生活的種種內心矛盾與交戰。戲名命名為《活著就是明天》，向恩師阿巴斯的前作致敬，在溫哥華、釜山、西班牙、芝加哥、三藩市巡迴展映
Iran, 2007, 77 min.,In Dah be alaveh Chahar / 10 + 4, though, circumstances are different: Mania is fighting cancer. She has undergone surgery; she has lost her hair following chemotherapy and no longer wears the compulsory headscarf; and sometimes she is too weak to drive. So the camera follows her to record conversations with friends and family in different spaces, from the gondola she had famously used in her first feature to a hospital bed. Yet, while he body shows the effects of the disease, Akbari is as tough, charismatic, and argumentative as in her previous screen appearances her luminous presence all the more alluring and precious as it becomes a sign of how fragile life itself is. Her cinematic language has been expanded and refined from the rigorous explorations of 20 Fingers, to take into account the unexpected aspects of facing simultaneously death and survival, social stigma and sympathy. Treading an elegant line between documentary and fiction, Akbari takes a daring ...
Iran, 2007, 77 min.,In Dah be alaveh Chahar / 10 + 4, though, circumstances are different: Mania is fighting cancer. She has undergone surgery; she has lost her hair following chemotherapy and no longer wears the compulsory headscarf; and sometimes she is too weak to drive. So the camera follows her to record conversations with friends and family in different spaces, from the gondola she had famously used in her first feature to a hospital bed. Yet, while he body shows the effects of the disease, Akbari is as tough, charismatic, and argumentative as in her previous screen appearances her luminous presence all the more alluring and precious as it becomes a sign of how fragile life itself is. Her cinematic language has been expanded and refined from the rigorous explorations of 20 Fingers, to take into account the unexpected aspects of facing simultaneously death and survival, social stigma and sympathy. Treading an elegant line between documentary and fiction, Akbari takes a daring ...
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