Offside

Jafar Panahi’s cinematic social commentary – which began with his admired but unsophisticated film White Balloon and continued with his banned films, Circle and Crimson Gold – has evolved gradually. The latter films (Circle and Crimson Gold) descend into the lower layers of an unknown and complicated society. Despite weaknesses in these films, they deliver fascinating insights to audiences – both foreign and Iranian. Offside offers a different perspective from similar films about Iranian society. Rather than relying on rhetorical dialogue, it exposes society’s complex realities and reaches an unexpected conclusion. 

Offside is not about soccer as its name would suggest. Rather it is a highly political film which navigates a strange and surprising world. Soccer, along with everything else, is politicized in Iran. Rumors suggest that the Iranian government has demanded that the national team lose certain games on purpose. Street celebrations that follow important games (this year and after several 1998 World Cup matches) are unpredictable and the Iranian government does not approve of them. Typically, the government cracks down on social events, dancing, and violations of the dress code. However, during these street celebrations, government officials can only stand idle and allow celebratory dancing, singing, and interactions between men and women. While soccer is not Panahi’s chief interest, the sport allows him to address issues that are normally prohibited.

There is no narrative in Offside. The film begins with an old man searching for his daughter. Next, we see a girl, dressed as a boy, on her way to a soccer match. Even though the movie begins with these two characters, the film’s focus is on other social matters. The movie soon focuses on other characters and their shared experience. The girl’s identity is soon revealed to the authorities and she is arrested and taken to a temporary location where other girls are being held, before being transferred to a police station. The policemen in charge of watching them speak with different regional accents, such as Turkish and Mashadi. Their accents and ethnicities highlight the fact that, while each individual belongs to a different part of Iran, in the end, they all have one thing in common: Iran. The detained girls belong to different social classes. The Turkish police officer also has a different background. All these differences are forgotten after the victory of Iran’s national soccer team. In the last scene, people celebrate in the streets. They enter the police van, where the girls are being held, and invite the police officers to dance and celebrate with them. The girls take advantage of this situation, leave the van, and disappear into the crowd. The famous Ey Iran anthem, Iran’s former national anthem which was banned by the Islamic Republic plays throughout the last scene. This scene captures the essence of the film: finding a shared identity and freedom. 

Offside can also be analyzed through a feminist lens. The unlocking of the girls’ handcuffs in the last scene represents the lifting of repression of women who have no social rights in Iran. Throughout the film, women are confined to a small space and are not allowed to participate in society. They are continuously trying to free themselves from these limitations, in this case by attending the soccer match dressed as boys. The film shows that they are tired of these restrictions. They unite when the Iranian team scores a goal, forgetting the traditions and laws that restrain them. The old man who, earlier in the film insists on the importance of traditions and cultural values, does not make another appearance in the film.

This film creates new ideas and values by combining existing ones. Traditional views would consider these girls bad, because they are crossing set boundaries. The old man’s conversation with his neighbor’s daughter sheds light on this perspective. The Turkish soldier represents a moderate view on women and society. In one scene, he seeks to protect them and buys them refreshments with his own money. The female characters in Offside represent honor and humanity. One of the detained girls returns after escaping because she does not want the soldier to get in trouble. The film represents cinematically the complexities which exist within Iranian society. For example, one girl, the daughter of a religious man, disguises herself as a boy to attend the soccer match, like the other female characters. Yet, she is embarrassed when talking to the old man. With her painted face, she covers herself with a chador on top of her boyish outfit. 

Despite its nuanced approach and use of symbolism, Offside is a very simple and realistic film. The characters represent ordinary Iranians who can be found throughout Iran. With a few exceptions, the dialogue is simple yet effective. Despite its lack of clear narrative, the film has a satisfying ending. The soldiers soften their stance when they hear Ey Iran. Earlier, they had insisted they were simply following orders. At the end, they are smiling, dancing, and celebrating with the people, even though they are not permitted to do this while on duty. Also, there are no weapons in the film, reminding viewers of the popular revolutionary slogan “my martial brother, why kill your brother.” The movie ends with its own revolution.