Crimson Gold Page #5

Synopsis: 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.
Genre: Drama, Thriller
Director(s): Jafar Panahi
Production: Wellspring Media
  4 wins & 2 nominations.
 
IMDB:
7.5
Metacritic:
81
Rotten Tomatoes:
86%
UNRATED
Year:
2003
95 min
Website
176 Views


l forgot to offer you...

There's lots in the fridge.

All kinds of drinks...

l don't touch the stuff. You?

l don't drink like guys here.

l don't understand them.

They drink just to drink.

l need some sort of ambiance,

some kind of occasion...

l don't understand.

There's everything in the fridge.

Help yourself.

Hold on a second.

She's speaking, finally.

No, there's no one here.

No, l'm alone.

No, l told you.

l put the pizza in the oven.

You talk too much. Let's not argue.

Come back.

We'll talk about that when you're here.

l didn't invite you before...

you came on your own.

You came on your own.

Come over and we'll talk.

Come over, l said.

OK.

OK, it was me.

OK, l invited your girlfriend. ls that better?

l told you, it was me.

Just forget it.

Stop it...

You're wrong.

You didn't eat? Neither did l.

Come over and eat with me.

Come back over.

We'll talk about it.

Listen...

l said listen...

Listen...

Why won't you listen?

That night l saw you...

l was planning on shaving my beard.

But you said l looked like Shakespeare.

l kept it for you.

Who are you?

Where's the jewelry?

- What jewelry?

- Those from the window.

What do you want? Why are you doing this?

Where's the jewelry?

- What are you doing?

- Where is it?

- l'll shoot you!

- What for?

- Don't do that!

- Where did you put it?

- The jewelry?

- Where is it?

- The blue ring...

- Which one?

From the window, on the pyramid.

- Stop it!

- Where is it?

This can't be...

- Where did you put it?

- ln the safe.

- Where's the safe?

- Downstairs.

- lt's no use!

- We're going down!

- You're making a big mistake.

- l'll kill you.

Adaptation:
Richard Lormand

Dana Farzanehpour

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Abbas Kiarostami

Abbas Kiarostami (Persian: عباس کیارستمی‎ [ʔæbˌbɒːs kijɒːɾostæˈmi] ( listen); 22 June 1940 – 4 July 2016) was an Iranian film director, screenwriter, poet, photographer and film producer. An active film-maker from 1970, Kiarostami had been involved in over forty films, including shorts and documentaries. Kiarostami attained critical acclaim for directing the Koker trilogy (1987–94), Close-Up (1990), Taste of Cherry (1997) – which was awarded the Palme d'Or at the Cannes Film Festival that year – and The Wind Will Carry Us (1999). In his later works, Certified Copy (2010) and Like Someone in Love (2012), he filmed for the first time outside Iran: in Italy and Japan, respectively. Kiarostami had worked extensively as a screenwriter, film editor, art director and producer and had designed credit titles and publicity material. He was also a poet, photographer, painter, illustrator, and graphic designer. He was part of a generation of filmmakers in the Iranian New Wave, a Persian cinema movement that started in the late 1960s and includes pioneering directors such as Bahram Beyzai, Nasser Taghvai, Ali Hatami, Masoud Kimiai, Dariush Mehrjui, Sohrab Shahid Saless and Parviz Kimiavi. These filmmakers share many common techniques including the use of poetic dialogue and allegorical storytelling dealing with political and philosophical issues.Kiarostami had a reputation for using child protagonists, for documentary-style narrative films, for stories that take place in rural villages, and for conversations that unfold inside cars, using stationary mounted cameras. He is also known for his use of Persian poetry in the dialogue, titles, and themes of his films. Kiarostami's films contain a notable degree of ambiguity, an unusual mixture of simplicity and complexity, and often a mix of fictional and documentary elements. The concepts of change and continuity, in addition to the themes of life and death, play a major role in Kiarostami's works. more…

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Submitted on August 05, 2018

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