It's probably accurate to say that Crimson Gold is not a film for the impatient or for those who need an immediate pay-off. Jafar Panahi's film is a slow burn of a movie, deliberate in execution, about an Iranian man who makes a living delivering pizza, disturbed by the inequality and injustice he experiences, like an Iranian version of Scorsese's Travis Bickle. The opening scene sets the stage – one lengthy static take of a jewelry store robbery. Through flashbacks, the film then sets the stage, in meticulous detail, on the events that lead to the robbery. Beautifully shot with subdued but impactful performances from the entire cast, the film is brutal in its portrayal of social inequality.

Although I'm not dying to rewatch it anytime soon, the overall slow tempo and almost catatonic lead rendering it demanding viewing, "Talaye sorkh" is still commendable for the naturalistic performances of the professional and non-professional players and a few engaging, memorable setpieces. Some of the vignettes presented are weaker than others making this an uneven film, but Panahi is capable of conveying unsettling truths with a mere apathetic succession of few wide shots and even fewer words.

This and Battle in Heaven: two enormously dark comedies about working men desperate with social inequality. If Battle in Heaven is overstuffed with artism, Crimson Gold, the less fanciful film, is more grounded in reality, which makes its critique more validly portent.

Written by Abbas Kiarostami and Directed by Jafar Panehi.A Good combination without FAIL...!

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.

Brutal!!! Un retrato de la sociedad iraní abordado magistralmente de la mano de Jafar Panahi y desde la visión existencialista de Hussein (Hossain Emadeddin), un repartidor de pizzas en la noche y ladrón en las mañanas. Y así comienza la película, por el final, con el robo de una joyería a cargo de Hussein y su cuñado. Retroceso, luego, la historía nos empieza a mostrar cómo y por qué, estos 'ladrones' llegaron ahí y decidieron meterse a robar a esa joyería especialmente. Una refinada lección de moral y principios después de conocer los hechos relevantes. Realizada en su mayoría con actores naturales, este filme es una verdadera lección de puesta en escena y dirección de actores. Recomendada. **Libertad a Panahi!!**

Intriguing character exploration!

Kiarostami writes and Panahi directs: Dream Team. Every second of the movie is so worth full, stunning................

Panahi's film is another humane entry in his body of work. The first shot captures the entire theme of the film with its frame within a frame, the camera's refusal to turn left or right, the helpless onlookers, and the disintegrating lower class robber. Each of the elements combine to highlight what the rest of the film lays out so beautifully: the inherent inequality (in power and in economics) that pulsates through Iranian society.

Talaye Sorkh benefits from a nice central performance from Hossain Emadeddin, who carries the film well, and keeps the interest during the rather slower sections of the film. The political areas are covered ok, but the twist, which actually opens the film, throws the film off balance, and when the film try?s to run with that central scene and build around the reasons for it, and a political Israel story which although very realistic, does'nt quite all string together.

Slow-moving, quiet psychological drama about class realities in contemporary Iran.

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.

watch it.. not very fond with the slow tempo story line..

I found this film difficult to understand, but I loved it. The style is unique. Emadeddin reminds me of Bill Murray in Broken Flowers. I loved the sequence in the expensive apartment. It makes me want to order pizza delivery!

I'm not the first one to label this as an Iranian "Taxi Driver" and I doubt I'll be the last. The injustices on display are sobering and, perhaps most frustratingly, the charity that I've come to expect from Iranian films doesn't save the day here. Beautifully written and tastefully filmed, this is one sobering flick.

Harrowing. Hussein is like an Iranian Travis Bickle, riding his pizza delivery bike all over the city, witnessing the deep chasm of social divide between rich and poor, and ever aware of just which side of that chasm he stands on. Panahi eschews the documentarylike style of The Mirror and Offside is laid aside for a more shadowy, more deliberate look, one that feels as hemmed in and determined as in the very best noir.

slow paced but ultimately satisfying

Iransk film om det store skel mellem rig og fattig, og udsigten til aldrig at avancere økonomisk. Er dog en smule langtrukken

This collaboration between Kiarostami and Panahi two of Iran's best film makers is surely one the best portrays of social inequity and what results from it.

Talaye Sorkh benefits from a nice central performance from Hossain Emadeddin, who carries the film well, and keeps the interest during the rather slower sections of the film. The political areas are covered ok, but the twist, which actually opens the film, throws the film off balance, and when the film try?s to run with that central scene and build around the reasons for it, and a political Israel story which although very realistic, does'nt quite all string together.