For the first time in more than two decades, renowned Iranian director Jafar Panahi addressed the press at the Cannes Film Festival, not remotely under house arrest in Tehran but as a free individual. During a press conference for his competition film “It Was Just an Accident“, Panahi pondered on his eagerly anticipated return to the Croisette and the burden of representing those who continue to be silenced in Iran.
This year’s Cannes Film Festival is the first time that Jafar Panahi has attended since his film “Crimson Gold” received the Un Certain Regard award in 2003.
After being released from prison in February 2023, following a hunger strike, Panahi has now been able to travel freely. A ban on travel and filmmaking that was imposed on him in 2010 due to a conviction was overturned, allowing him to work and move as he pleases.
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Following his release from prison after a hunger strike in February 2023, Panahi is now free to travel. A ban that had been placed on him in 2010, preventing him from both traveling and filmmaking due to a conviction, has been overturned, giving him the freedom to work and move as he chooses.
Panahi shared, “I needed a while to regain my momentum and return to work, but this movie, titled It Was Just An Accident, is what eventually came of it.
One of His Most Politically Bold Works Yet: “It Was Just an Accident” was filmed covertly in Iran and presents female characters without veils, challenging the nation’s hijab law. The movie tells a story about a group of ex-prisoners contemplating whether to seek vengeance on their tormentor.
As I stand here, it’s not my solitary effort that brought this movie to life. Instead, it’s the Islamic Republic that has given birth to this film because they imprisoned me, as I shared during an extensive interview with THR before its debut. Perhaps, once they witness this work of art, they might comprehend the error of their ways in confining artists… perhaps if they want to curb our rebellious spirit, they should cease incarcerating us instead.
During a press conference, Panahi expressed that his films are consistently motivated by the surroundings he encounters. Prior to imprisonment, those surroundings were primarily the Iranian society, but upon being incarcerated, it’s impossible not to be affected and influenced by the sights and experiences within the prison environment.
One of the movie’s leading actresses, Mariam Afshari, expressed that the film serves as a means to reveal our experiences, our battles.
The movie’s realistic approach and understated tension echoes Panahi’s previous work like “The Circle” and “Offside”, differing from his self-reflective, limited productions he made during his official ban on working, such as “This Isn’t a Film” and “Taxi”. However, it refrains from direct autobiography, yet the themes of confinement, pain, and resistance strongly reflect the director’s personal background.
Panahi described his time in prison as being held in extremely cramped quarters, specifically a tiny cell measuring just 5 by 8 feet, “which barely allowed me space to lie down or move around comfortably.” He explained that he had to summon help whenever he needed to use the bathroom, and was only permitted to do so 2-3 times daily. Additionally, when leaving his cell, he was required to wear a blindfold except when using the restroom.
Throughout his incarceration, Panahi stated that he was repeatedly questioned, frequently spending up to eight hours daily on these sessions. “On one occasion, it was prayer time, and my interrogator stepped out for prayer. Upon returning, they resumed the interrogation.
However, Panahi emphasized that countless others have endured even greater hardships. He pointed out that their co-screenwriter has once again been imprisoned. “It’s the Iranian individual who has spent the last four decades in confinement,” he remarked.
In spite of facing over three decades of censorship, mistreatment, and an imposed ban, Panahi expressed that he never considered quitting his work.
While serving my 20-year ban, my dearest friends had lost faith in my ability to return to filmmaking,” Panahi expressed. “However, I persisted and thought to myself, ‘I can’t do anything else…I don’t know how to change a lightbulb or use a screwdriver. All I know is how to make films.’
Similar to movies produced clandestinely during his government-imposed hiatus, the film titled “It Was Just An Accident” was secretly created, without gaining the endorsement or approval from the Iranian authorities.
The movie was warmly received during its debut at Cannes on Tuesday, resulting in an extended 8-minute standing ovation, as there were few spectators left with dry eyes. Panahi, in a heartfelt speech, honored numerous Iranian filmmakers, actors, and activists who are currently imprisoned or barred from working, following the Femme Liberté demonstrations.
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The movie’s premiere at Cannes on Tuesday sparked a prolonged 8-minute standing ovation, as there were few audience members left with dry eyes. Panahi, in an emotional speech, acknowledged various Iranian directors, actors, and activists who are currently incarcerated or banned from working due to the Femme Liberté protests.
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The movie was met with a thunderous applause during its first screening at Cannes on Tuesday, which lasted for 8 minutes without cease, leaving few viewers with dry eyes. Panahi, in an impassioned speech, paid tribute to numerous Iranian filmmakers, actors, and activists who are still detained or prohibited from working as a result of the Femme Liberté uprising.
No matter how the Iranian government reacts to his latest movie, Panahi declared that he will continue to stand firm in his struggle.
He stated that he acts similarly to other Iranians and doesn’t stand out in any way. It’s true that Iranian women are required to wear headscarves when they go out, but many disregard this rule. Similarly, he isn’t doing anything extraordinary. Once he completes his work here, he plans to return to Iran the following day. Then, he will ponder about what his next project should be.
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2025-05-21 12:25