
For Hussein, a pizza delivery driver, the imbalance of the social system is thrown in his face wherever he turns. One day when his friend, Ali, shows him the contents of a lost purse, Hussein discovers a receipt of payment and cannot believe the large sum of money someone spent to purchase an expensive necklace. He knows that his pitiful salary will never be enough to afford such luxury. Hussein receives yet another blow when he and Ali are denied entry to an uptown jewelry s... (Full plot summary below)
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For Hussein, a pizza delivery driver, the imbalance of the social system is thrown in his face wherever he turns. One day when his friend, Ali, shows him the contents of a lost purse, Hussein discovers a receipt of payment and cannot believe the large sum of money someone spent to purchase an expensive necklace. He knows that his pitiful salary will never be enough to afford such luxury. Hussein receives yet another blow when he and Ali are denied entry to an uptown jewelry store because of their appearance. His job allows him a full view of the contrast between rich and poor. He motorbikes every evening to neighborhoods he will never live in, for a closer look at what goes on behind closed doors. But one night, Hussein tastes the luxurious life, before his deep feelings of humiliation push him over the edge.
Leave your thoughts about Crimson Gold.
| Combustible CelluloidJeffrey M. AndersonPanahi is the most promising of the new Iranian directors. |
| Village VoiceJ. HobermanIranian director Jafar Panahi's Crimson Gold is an anti-blockbuster--a deceptively modest undertaking that brilliantly combines unpretentious humanism and impeccable formal values. |
| Christian Science MonitorDavid SterrittIt's a troubling, courageous, compulsively watchable work of art. |
| Boston GlobeWesley MorrisThis is the first beautiful performance in the year's first great movie. |
| San Francisco ChronicleJonathan CurielAn engrossing tale of class differences that reveals tiny details of one mans descent into hell. |
| Jam! MoviesJim SlotekAs overly familiar as director Jafar Panahi's setup and delivery seems, its freshness is in its setting. |
| The A.V. ClubScott TobiasProvides 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. |
| Washington PostMichael O'SullivanAn extraordinary film in many ways, the least of which is its unorthodox casting. |
| Chicago TribuneMichael WilmingtonA stark, minimalist near-masterpiece about the creation of a murderer in modern Iran. |
| The Globe and Mail (Toronto)Liam LaceyAs in "Taxi Driver," the protagonist is a damaged war veteran, an invisible man who travels about the city and internalizes its contradictions until he explodes. |