Crimson Gold 

Drama | Persian with English subtitles | 95 minutes

Crimson Gold opens inside a jewelry shop. Hussein is attempting to commit a robbery ordering the jeweler to open the safe. This triggers an alarm. A panicked Hussein shoots the jeweler and shoots himself. The remaining film proceeds, in flashback, to describe Hussein’s life and the events that led to this double killing. Hussein is engaged to his co-worker Ali’s sister. When Ali and Hussein enter a jewelry store, dressed in work clothes, looking for a wedding ring, they are ignored by the snooty clerks. The next morning Hussein, Ali, and the bride return to the jewelry store dressed more appropriately. Again, the clerks consider them low class and suggest they will find what they want in a pawn shop. Working as a pizza delivery man, Hussein brings a pizza to a rich man. The man invites Hussein to come inside and the two banter about the class differences and  inequities in Iranian society.  The next morning an enraged Hussein returns to the jewelry store when the tragedy depicted in the first scene occurs. 
Hossein Emadeddin (Hussein) / Kamyar Sheissi (Ali)
Why Stream This Film?
It’s a tribute to Crimson Gold that it so unnerved the government  it was banned in Iran.
  • Rotten Tomatoes Score (Critics Consensus): 88%
  • Metacritic Score: 81
  • Cannes Film Festival: Winner, Un Certain Regard Jury Prize
  • Chicago International Film Festival: Winner, Gold Hugo, Best Film 

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CRIMSON GOLD does not pander to Western tastes. It doesn’t feature gory violence or long stretches of abusive language. In fact, the arc of Hussein’s life is shown in a kind of rage-free, slow motion replay that is much more captivating than the shootings we know it has fostered.
Jonathan Curiel

San Francisco Chronicle

CRIMSON GOLD exposes the cruelties and inequities of a society sharply polarized by class and corrupted by selfishness, snobbery and cynicism. But the occasional obviousness of the film’s themes is more than balanced by the subtlety of its methods and by the stolid, irreducible individuality of its protagonist Hussein.
A.O. Scott

The New York Times

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