Poster for Offside

Autumn 2007 Main series

Sunday, November 4, 2007 at 4:00pm
Sunday, November 4, 2007 at 7:00pm
Monday, November 5, 2007 at 7:00pm

Acadia Cinema's Al Whittle Theatre
450 Main Street, Wolfville, NS

Directed by Jafar Panahi

Starring Sima Mobarak-Shahi, Shayesteh Irani, Ayda Sadeqi, Golnaz Farmani, Mahnaz Zabihi, Nazanin Sediq-zadeh, Melika Shafahi, Safdar Samandar, Mohammad Kheir-abadi, and Masoud Kheymeh-kabood

Rated PG · 1h 33m

View trailer

Football — or soccer — was on everyone’s mind in the summer of 2006 because of that spectacular tournament of tournaments, the World Cup. For some, this global extravaganza of athleticism is more than a sporting event; it is a cultural phenomenon. Questions of politics and nationalism are ever-present. Iranian director Jafar Panahi, never afraid to poke into difficult subject matter, has centred his engaging new film around an explosive contemporary issue: in his country, it is illegal for women to attend soccer games at the stadiums. Offside, winner of the prestigious Silver Bear award at the 2006 Berlin International Film Festival, is not simply about women being banned from matches; it is about their rights in a Muslim society.

Set against the backdrop of an actual match Iran played to qualify for the World Cup, Offside focuses on a group of soccer-crazy young women. Like their male counterparts, they just want to indulge in the frenzied communal moment of supporting their country and celebrating the skills on display. To fulfill their desires, they must pass themselves off as men, hoping their disguises will get them past the stadium guards.

Panahi mobilizes this wonderful concept to the fullest. Boarding buses full of raucous male fans, the women try to disappear into the crowd — and their deep unease is manifest on their faces and in their body language. When they approach the turnstiles and security guards, they must wait to see whether their ploy has succeeded, all the while caught up in the sheer energy as the crowd cheers for the imminent start of the game. What transpires is filled with emotion, from the crowd’s frenzy to each woman’s quiet worries.

Panahi avoids lapsing into a cut-and-dried portrayal of his subject. While our sympathies lie with the young women, he ensures that we remain sensitive to those on the other side of the issue: working-class soldiers and guards who must enforce policies regardless of their personal feelings. As the women inch closer to the stadium — and a glimpse of the magic grass carpet of the playing field — Iranian society and its contradictions are laid bare.