Crimson Gold (2003). Crimson Gold is a slow, relentless deconstruction of crime that works as a gripping reflection on humanity and as potent social commentary. Panahi’s long, meditative shots don’t flinch, nor do his detached but intense nonprofessional actors. Interestingly, Panahi splits the climactic scene in two to act as bookends of the film, a conceit that, given the subject matter, works perfectly: despair and crime are cyclical tendencies that depend upon each other for continued existence. A-.
Offside (2006). Offside, like Crimson Gold, successfully deals with larger social issues on a human scale. The film takes place during a 2005 soccer match in Tehran, where several women try to sneak in to watch the game, though it is illegal for women to attend football games in Iran. The real-time approach and minimalist aesthetic perfectly articulate without deviating from Panahi’s concerns. Sadly, but perhaps unsurprisingly, the Iranian government banned this film, which is a decidedly critical examination of inconsistent and irrational legal regulations. With Offside, Panahi has sounded a much-needed call for reform. A.
