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Crimson Gold(طلای سرخ)

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Iran · 2003
1h 35m
Director Jafar Panahi
Starring Hossain Emadeddin, Kamyar Sheisi, Azita Rayeji, Shahram Vaziri
Genre Drama

Delivery driver and occasional petty criminal Hussein is just trying to make ends meet – a particular challenge as he prepares for his wedding. To add insult to injury, he and his friend Ali are denied entry to a jewelry store because of their appearance. After a delivery takes him to an extravagant mansion, Hussein decides that something must change.

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What are critics saying?


The New Yorker by Anthony Lane

Its characters are no different from the rest of us, in the cluster of their annoyances and kicks, yet utterly removed from us by a system that frowns upon ordinary desire. Jafar Panahi's movie, unsurprisingly, has been outlawed in Iran. Nobody likes a prophet. [19 January 2004, p. 93]


The New York Times by Dana Stevens

The occasional obviousness of the film's themes is more than balanced by the subtlety of its methods and by the stolid, irreducible individuality of its protagonist, Hussein.


Village Voice by J. Hoberman

Iranian director Jafar Panahi's Crimson Gold is an anti-blockbuster--a deceptively modest undertaking that brilliantly combines unpretentious humanism and impeccable formal values.


New York Post by Jonathan Foreman

Crimson Gold has been likened to an Iranian "Taxi Driver," but it's nothing of the sort, though it is powerful in a quiet, minimalist way.


Variety by Lisa Nesselson

Succeeds as a universal account of frustration applicable to any urban center where the gap between haves and have-nots is tauntingly visible.


New York Magazine (Vulture) by Peter Rainer

Watching it is like getting a peek behind the curtain. But it's frustrating, too, because the casting of Emadeddin as a murderer-in-the-making precludes any psychological depth. And as an indictment of social inequality, which is the film's calling card, Panahi inadvertantly makes a far better case for the haves than for the have-nots.


The A.V. Club by Scott Tobias

Provides one of the rare glimpses of the upper class to come out of recent Iranian cinema--the last one in memory was 1996's exquisite, Ibsen-esque melodrama "Leila"--and director Jafar Panahi (The Circle) captures it vividly through his hero's wounded obsession.

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