Dah (Abbas Kiarostami, 2002)

Ten, probably one of the lowest-budget films you'll ever see, being entirely shot on two digital cameras fixed to a car dashboard, is a collection of ten sequences where a female taxi driver in Tehran talks to her passengers, who range from a woman going to prayer to a prostitute. The real-life son of the actress also features heavily, with the two of them bickering about her character's divorce.
It's no fault of the director that a number of influential publications picked such an uncinematic piece as one of the greatest films of the decade or all time with wilful perversity. It's better ignore this and appreciate how much a sensitive treatment of mostly non-professional actors can bring out in terms of substance, particularly when access to the varied lives of women in such a restrictive society is so hard to obtain by other means.

6/10