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Critics Consensus: A slow-burning, riveting film about Iranian class differences.
Critic Consensus: A slow-burning, riveting film about Iranian class differences.
All Critics (74) | Top Critics (27) | Fresh (64) | Rotten (10) | DVD (1)
I'm glad I saw Crimson Gold. Watching it is like getting a peek behind the curtain.
Panahi's movie, unsurprisingly, has been outlawed in Iran. Nobody likes a prophet.
The movie can feel slow and tedious, but the supper it makes us work for is nourishing.
It's every bit as outwardly unruffled as its hero, but inwardly it seethes with the very same gradually accumulated rage. A devastating and beautiful film.
A film both shocking and humane, as if Taxi Driver were somehow rewritten by Chekhov.
It's the singular presence of Hussein Emadeddin -- a nonprofessional like all the other actors Panahi has used in his films -- that gives the film much of its soul and mystery.
The film's sociopolitical themes are all the more powerful for being subtly expressed through a starkly realistic tale.
An incisive portrait of one man's quiet rage at, and heartbreakingly violent response to, social inequality.
Brutal class realities in contemporary Iran
an artful failure, a moped-fueled odyssey into dramatic weariness and monotony
...a slow-moving but ultimately intriguing character study.
It settles into the typical reflective mode of Iranian films, but something is happening: A human being is slowly, sullenly, silently approaching his combustion point.
Kiarostami is not behind the camera here but Jafar Panahi who was the recent subject of This is Not a Film delivers well here. I appreciate this more for the little tidbits that Panahi provides during This is Not a Film with its unexpected directors' commentary. It's raw and real.
Super Reviewer
A real measured and poetic presentation of class and pride in Iranian society and in just human existence in itself. The film is about a pizza delivery man who attempts to rob a jewellery store. Abbas Kiarostami wrote the script for this film, supposedly after meeting with Quintin Tarantino and you can tell in its non-linear narrative. The film starts with the robbery and him killing himself, then the rest of the film is the build up. This non-linear narrative with the neo-realist style of Iranian new wave does create something void of tension but full of exploration.
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