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	Jafar Panahi - Wikipedia, the free encyclopedia
		Jafar Panahi (born July 11, 1960 in Mianeh, Iran) is an internationally-acclaimed independent filmmaker.
		After studying film directing at the College of Cinema and Television in Tehran, Panahi made several films for Iranian television and was the assistant director of Abbas Kiarostami's film Through The Olive Trees.
		Panahi's debut as a director came in 1995 with White Balloon, which won a Camera d'Or at the Cannes Film Festival.
	en.wikipedia.org /wiki/Jafar_Panahi (167 words)

	INTERVIEW: The Dark Balloon; Jafar Panahi's Vicious "Circle"
		Jafar Panahi: I think this film and the other films I've made are humanistic films and are not necessarily society-specific.
		Panahi: In general, the idea was the long takes facilitated the circular theme that we were trying to put in the film at all points.
		Panahi: That's maybe because I was very conscious of not trying to play with people's emotions; we were not trying to create tear-jerking scenes or moments that were just for an emotional reason.
	www.indiewire.com /people/int_Panahi_Jafar_010412.html (1704 words)

	Don't Look at the Camera: Becoming a Woman in Jafar Panahi's Iran
		Paradoxically, the zooming-in is Panahi's way of zooming-out-the emphasis on this marginal character (which is not just an afterthought-it's the Afghani boy who's in possession of the white balloon of the title) hints at a breadth and a depth that the film hasn't previously shown.
		All Panahi's films are charged with a very urban vitality, a love of the streets and of the people that inhabit them, and one of the incidental pleasures of all three of his films is the portrait of Tehran that emerges from them.
		Panahi does amazing things with sound design, embedding his films in an aural landscape of city noises-honking car horns, passing vehicles, street musicians, radio and TV transmissions-that suggest the sea of activity and human life his characters inhabit and that give his films their remarkable sense of presence.
	www.sensesofcinema.com /contents/01/15/panahi_jared.html (2574 words)

	Review of Jafar Panahi quot;Crimson Gold", 12/03
		A review of Jafar Panahi's chilling portrait, "Crimson Gold," which screens this month at the Boston Museum of Fine Arts as part of the Festival of Films from Iran.
		Jafar Panahi’s "Crimson Gold" begins in the middle of a foiled bank robbery, the thief and his victim obscured by shadows.
		Panahi masterfully depicts sequence after sequence in which Hussein is subtly or not-so-subtly made aware of his own powerlessness and the abundance of unattainable wealth around him.
	www.newenglandfilm.com /news/archives/03december/crimson.htm (367 words)

	Welcome to Netiran! (Site not responding. Last check: 2007-10-10)
		Panahi took part in a Q & A session and offered explicit replies to questions on copyright, his work as the film's director, as well as general issues related to film production in Iran.
		Panahi was meantime keen on not blowing The Circle's story, so he did not want the press to publish anything about the film's script.
		Panahi's complaints reached the zenith with his independent statement as the protesting jury member of the 14th Festival of Films for Children and Young Adults in Isfahan.
	www.netiran.com /?fn=artd(1626) (1433 words)

	Welcome to Netiran! (Site not responding. Last check: 2007-10-10)
		Jafar Panahi is an independent post-revolutionary director, one of whose films, (The White Balloon) has been released, while another (The Mirror) has remained unrealized in Iran, and a third (The Circle) has been banned.
		Panahi decorously blends the classic narrative style with modern dramatic structure, a technique which few filmmakers have successfully worked out during the transition from post-modernism to decon-structionism and during the peak of topical formalism in European- American cinema.
		Panahi's social look is so bold, candid, and real in his latest picture that it led to a two- year ban on the film which was not screened even at the Fajr Festival 2000.
	www.netiran.com /?fn=artd(1635) (3666 words)

	Chicago Reader Movie Review
		Abbas Kiarostami, Panahi, and Parviz Shahbazi: With Aida Mohammadkhani, Mohsen Kalifi, Fereshteh Sadr Orfani, Anna Bourkowska, Aliasghar Samadi, Mohammad Shahani, and Mohammad Bahktiari.
		Born in 1960, Panahi made three documentaries and two short films for Iranian television between 1988 and 1992, the last a tribute to Kiarostami's first film, the ten-minute Bread and Alley (1970).
		One technique developed by Kiarostami that Panahi adopts is keeping the overall story a secret from the actors-especially the child actors-to ensure the sp ontaneity of their performances.
	www.chicagoreader.com /movies/archives/0396/03086.html (1970 words)

	Jafar Panahi -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-10)
		After studying film directing at the College of Cinema and Television in (The capital and largest city of Iran; located in northern Iran) Tehran, Panahi made several films for Iranian television and was the assistant director of Abbas Kiarostami's film Through The Olive Trees.
		Panahi's debut as a director came in 1995 with White Balloon, which won a Camera d'Or at the (additional info and facts about Cannes Film Festival) Cannes Film Festival.
		The 1997 film (additional info and facts about The Mirror) The Mirror, also directed by Panahi, received the Golden Leopard Award at the (additional info and facts about Locarno) Locarno Festival.
	www.absoluteastronomy.com /encyclopedia/j/ja/jafar_panahi.htm (154 words)

	A filmmaker feels the circle tighten / Iran's Panahi put in chains -- in U.S.
		Panahi says the incident is ironic since, at the time he was in chains, "The Circle" was screening in New York to applause and acclaim.
		Panahi, whose best-known work is the 1995 child-centered "The White Balloon, " took three years to make "The Circle." Iranian censors wouldn't even give him approval to make the movie until Iranian journalists reported on their refusal, pressuring them to reverse their decision.
		When the film was completed, the censors wanted Panahi to cut the last 18 minutes, which features the arrests of the prostitute and a poor woman who abandons her 2-year-old girl.
	www.sfgate.com /cgi-bin/article.cgi?f=/c/a/2001/05/08/DD92691.DTL (903 words)

	Gold Against the Soul: Jafar Panahi talks about Iranian cinema, Middle East politics and his latest film "Crimson Gold"
		When meeting Panahi, a smartly turned out 40-year-old, it is clear that the quiet dignity and dry humor of his films stem directly from his own personality and world view.
		Panahi: Evidently when you make a film, you primarily want to show it in your own country, where you made the film, but you should not be afraid of the people who try to stop or ban your film, because you start to censor yourself, and then it's another film.
		Panahi: The Iranian public was never very optimistic about what was happening, almost on a daily basis, as a result of the politics of the West in the area.
	www.indiewire.com /people/people_040109crimson.html (1957 words)

	The Case of Jafar Panahi - An Interview with the Iranian Director of The Circle
		Jafar Panahi, born in 1960 in Mianeh, Iran, was ten years old when he wrote his first book, which subsequently won first prize in a literary competition.
		Stressing the equal importance of both form and content, Panahi asserts that his work is about "humanity and its struggle", or the need for human beings to break through the confines of the circle.
		In the following interview, it comes as no surprise that Panahi prefers to accentuate the human dignity of his characters - a human right that seems trivial in the context of Western society but one which is readily denied in unexpected circumstances and situations, as Panahi himself found out, to his cost.
	www.sensesofcinema.com /contents/01/15/panahi_interview.html (4129 words)

	The Circle (2001): Fereshteh Sadr Orafai, Mariam Palvin Almani, Nargess Mamizadeh, Jafar Panahi
		No-one has done a better job than Jafar Panahi, utilizing a screenplay based on his own ideas from the pen of Kambozia Partovi, in portraying a narrow world that women face in Tehran nowadays, where religious police patrol the streets looking for violations of medieval rules, even entrapping people into violating laws against prostitution.
		Panahi's "The Circle," which gets its name from the circuitous path traveled by women who simply cannot break loose, cannot make progress, but go round and round in much the way that the Greek figure Sisyphus kept rolling a stone up a hill only to have the marker come tumbling down once again.
		Panahi frames the film by showing a section of a door opening and closing on a woman who beseeches an official for information, and to carry the metaphor of the title further even portrays much of the architecture of the city in circular form.
	www.rottentomatoes.com /click/movie-1105687/reviews.php?critic=columns&sortby=default&page=4&rid=203413 (944 words)

	Salon.com Arts & Entertainment \| "The Circle"
		It's not surprising that "The Circle," Jafar Panahi's resonant, beautifully made picture, was banned in the director's native Iran.
		Panahi has said that he's more concerned with getting the right people than he is with the issue of whether or not they're trained, and he makes the approach work.
		Panahi isn't particularly interested in rich visual details -- the women's faces were what lingered most in my mind after the movie was over.
	www.salon.com /ent/movies/review/2001/04/20/circle (1201 words)

	Jafar Panahi
		The first words spoken in Jafar Panahi's The Circle should be celebratory, but instead the mood of the scene is mournful.
		Director Jafar Panahi leaves the innocence of his delightful The White Balloon behind in this harrowing, passionate portrait of the plight women endured in Iran before the easing of strict Muslim law.
		Panahi drifts through the stories of a handful of women recently released from prison (their cr...
	www.dvdvan.com /find/Director/DVD/Jafar%20Panahi/page-1.html (488 words)

	OFFOFFOFF film review CRIMSON GOLD (Talaye sorgh) Iranian movie by Jafar Panahi with Hussein Emadeddin, Kamyar Sheissi, ...
		And director Jafar Panahi puts that shock right in the beginning of his latest film, "Crimson Gold." It's based on a true story, here told as one long flashback.
		Likewise, Panahi was less out to depict the wrongs of Iranian society in his last feature, "The Circle," than to tell a good story.
		Panahi continues to use nonactors, and this has two main effects on his films.
	www.offoffoff.com /film/2003/crimsongold.php (1204 words)

	CRIMSON GOLD Directed Jafar Panahi/written by Abbas Kiarostami
		Directed by the esteemed Jafar Panahi and written by award winning Abbas Kiarostami, CRIMSON GOLD is an intimate and absorbing drama about the ways in which the hypocrisies and slights of daily life can push otherwise reasonable people over the edge.
		Panahi uses Hussein's job as a delivery driver to move inside houses and behind closed doors to reveal places rarely seen by western audiences; what emerges is both a daring interrogation of Iranian society and a universal tale of urban alienation and inequality.
		Jafar Panahi's film exposes the cruelties and inequities of a society sharply polarized by class and corrupted by selfishness, snobbery and cynicism.
	www.artofiran.org /crimson_gold.htm (758 words)

	Crimson Gold - Cuba: Land of Music - Japanese Story - New York Movie Review
		Panahi is, after Abbas Kiarostami—who wrote the screenplay—Iran’s most celebrated filmmaker; his deeply unsettling 2000 movie The Circle, about the lives of Iranian women in various stages of duress and persecution, is a modern classic.
		Panahi makes movies that seem almost haphazardly constructed, and yet, as they meander along, a cross-section of urban life is laid bare.
		Panahi is making a common mistake—he thinks that strong and silent is the same thing as noble.
	newyorkmetro.com /nymetro/movies/reviews/n_9731 (1059 words)

	Movie Database - [TV Guide Online] (Site not responding. Last check: 2007-10-10)
		The title of Iranian director Jafar Panahi's daring, cleverly structured film refers to both a physical locale — a public plaza in the heart of Tehran —; and the film's ingenious story structure, which begins and ends with news of an Iranian woman who has just given birth.
		In between, Panahi offers a damning indictment of the lack of freedom experienced by women on several levels of Iranian society.
		Panahi's first film, THE WHITE BALOON, was an enchanting film whose messages lay safely tucked inside a charming story about a little girl in search of a goldfish.
	online.tvguide.com /movies/database/showmovie.asp?MI=42788 (331 words)

	village voice > film > Crimson Gold by J. Hoberman
		Like more than a few of last year's most impressive releases, Iranian director Jafar Panahi's Crimson Gold is an anti-blockbuster—a deceptively modest undertaking that brilliantly combines unpretentious humanism and impeccable formal values.
		The screenplay, by Panahi's mentor, Abbas Kiarostami (who also wrote The White Balloon), is based on an actual incident.
		Panahi is above all an urban filmmaker, and Crimson Gold unfolds in the midst of life.
	www.villagevoice.com /issues/0402/hoberman.php (661 words)

	Amazon.com: Crimson Gold: DVD (Site not responding. Last check: 2007-10-10)
		Panahi brings his feel for and vision of the expansive ordinary, for the near-invisible forces churning within characters in seemingly throwaway circumstances.
		Award-winning filmmaker Jafar Panahi's (The White Balloon, The Circle) latest triumph is an intimate and absorbing drama about the ways in which the hypocrisies and slights of daily life can push otherwise reasonable people over the edge.
		This is a very interesting Iranian film from Jafar Panahi, an Iranian director/writer who also made The White Balloon and The Circle.
	www.amazon.com /exec/obidos/tg/detail/-/B0002C814I?v=glance (2522 words)

	The Mirror (1997) - Yahoo! Shopping
		Building upon the revolution in Iranian cinema initiated by Abbas Kiarostami, Jafar Panahi has created a daring, innovative body of work, concerned with the human experience of social inequality as manifested on the streets of Tehran.
		Panahi works within a uniquely Iranian form of postmodernism, blending self-reflexivenenss with a marked social consciousness, and a distinctly-felt awareness of the relationship between the filmmaker and performer.
		The sheer beauty of the film, the engaging charm of the characters, and the bustling vitality of the Tehran streets draw viewers in to what is essentially a compassionate, humane portrait of class and gender inequality in Iran.
	shopping.yimg.com /p:The%20Mirror:1804849779 (488 words)

	Kakiseni.com - SMORGASBORD - Circles of Life: A Short Interview with Jafar Panahi
		It won the top prize at last year's Venice Film Festival; it could capitalise on the notoriety of its ban; and the director is Jafar Panahi.
		Director Jafar Panahi, born in 1960 in Mianeh, Iran, studied directing at Teheran's College of Cinema and TV.
		Ideally, as readers we should be given an opportunity to know more about the person rather than read a piece which seeks to demostrate the cleverness of the writer by posting smart-aleck comments within the interview.
	www.kakiseni.com /articles/columns/MDAzNw.html (1336 words)

	Jafar Panahi - Encyclopedia, History, Geography and Biography
		Jafar Panahi - Encyclopedia, History, Geography and Biography
		This page was last modified 02:03, 6 Jun 2005.
		This encyclopedia, history, geography and biography article about Jafar Panahi contains research on
	www.arikah.net /encyclopedia/Jafar_Panahi (153 words)

	Paste Magazine :: Review :: Crimson Gold :: Director: Jafar Panahi (Page 1)
		Iranian director Jafar Panahi burst onto the world cinema scene in the mid-’90s with The White Balloon.
		Hussein’s interactions with the rich are sometimes friendly, sometimes rude, but always awkward, and the contrast between their opulence and his lack of opportunity is striking.
		Panahi and screenwriter Abbas Kiarostami are so intent on driving home the contrast that they drag out each scene a good two or three minutes longer than necessary.
	www.pastemagazine.com /action/article?article_id=442 (430 words)

	This year's Prize of Freedom of Expression was given to Jafar Panahi
		The movie Circle directed by Jafar Panahi received the prize of Freedom of Expression, by the national film critiques association in United States.
		In the text accompanying the crystalline statue delivered to Jafar Panahi, it is said, 'The national film critiques association in America is honored to present the prize of freedom of expression to you for making the extraordinary courageous motion picture Circle.
		In addition, the fact that Circle did not get permission to be screened here in Iran on the basis that Panahi has won several prizes in various film festivals and is a familiar name outside the country, was widely published in the majority of foreign cinematic journals.
	www.payvand.com /news/01/feb/1074.html (350 words)

	Rotten Tomatoes Forums - CRIMSON GOLD- Jafar Panahi's masterpiece??
		With all the prolific titles under their belt, Jafar Panahi and Abbas Kiarostami are only a few films short of becoming nothing less than the dynamic duo of Iranian cinema.
		Kiarostami, the philosopher of the two, has gone on to be internationally lauded as a filmmaker worthy of the all-time greats (even though there are an equal number of people who can't stand his work).
		However, with "Crimson Gold", Jafar Panahi, who is so closely involved with Iranian issues, emerges with something with a distinctively universal feel.
	www.rottentomatoes.com /vine/showthread.php?t=363065 (761 words)

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