Dissident Iranian Filmmaker Jafar Panahi Claims Top Prize at Cannes: His Powerful Message Revealed

CANNES, France (AP) — Prior to this week, the dissenting
Iranian filmmaker Jafar Panahi
had not been present at the debut of one of his movies for over 15 years.

One of the foremost filmmakers on the global stage, Panahi faced restrictions starting in 2009 when he was prohibited from leaving Iran due to his participation in a student’s funeral during the Green Movement demonstrations; this ban was subsequently lengthened to encompass twenty years. Despite being confined to house arrest, Panahi continued to create cinematic works that have garnered significant acclaim. In 2011, he produced “This Is Not a Film” using just an iPhone inside his home. His film “Taxi,” released in 2015, was largely filmed covertly from within a vehicle.

These and similar movies by Panahi garnered significant praise when they were showcased at global film festivals, despite the noticeable gap left by the director’s absence, often symbolized by an empty chair. His final film as of 2022, “No Bears,” made its debut with him behind bars. It was only later that
His hunger strike gained international attention.
Panahi—who had journeyed to Tehran’s Evin Prison to check on his friend, who was then incarcerated—
filmmaker Mohammad Rasoulof
— launched in early 2023.

A couple of years after his travel restrictions were removed, Panahi made his way to the Cannes Film Festival with a movie titled “It Was Just an Accident.” The film was imbued with the anger and suffering he experienced due to imprisonment by the Islamic Republic.

Of course, being present matters. However, what truly holds significance is the presence of the film,” Panahi stated during an interview on a terrace at the Palais. “Even when I ended up in jail, I felt content knowing the film was completed. The time spent in prison did not bother me since my work was finished.

Still, Panahi’s presence at Cannes, where the movie debuted on Tuesday, holds immense significance—and danger—for a director who has significantly impacted global cinema despite being absent. However, for a filmmaker who has before resorted to smuggling his works out of Iran via USB drives, taking risks is an ongoing part of Panahi’s journey.

Yes, this remains a continuous concern,” he states via an interpreter. “The level of risk might likely increase now. However, the circumstances in Iran are quite volatile; they shift every day with new political developments occurring constantly. Thus, we must wait and observe how things stand on the very day we plan to return.

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EDITOR’S NOTE: On Saturday, Panahi’s “It Was Just an Accident” was awarded the top honor at the Cannes Film Festival. Learn more here.
His victory at the Palme d’Or ceremony here.

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The previous year, with the aim of getting to Cannes, Panahi’s compatriot Rasoulof made his move.
stepped across the Iranian border on foot
Before moving to Germany, (his movie “The Seed of the Sacred Fig” was eventually nominated for Best International Film at the Academy Awards). According to Panahi, they communicate almost daily. Following the debut of “It Was Just an Accident,” Rasoulof messaged Panahi to extend his congratulations on the occasion.

In contrast to Rasoulof, Panahi — who in “No Bears” was moved emotionally by looking beyond, yet staying within, the borders — does not intend to go into exile.

“I’m returning to Tehran on Sunday,” he states.

It’s straightforward. I can’t reside here,” he explains. “I am incapable of adapting to a different nation or culture. While some individuals possess this capability and resilience, I do not.

As demonstrated once more in his newest work, what Panahi possesses is the skill to intricately weave complex emotions of defiance, grief, and optimism into enthralling films marked by their refined yet emotionally wrenching structure.

In “It Was Just an Accident,” which is competing for the Palme d’Or at Cannes, a man called Vahid (portrayed by Vahid Mobasser) thinks he spots his previous tormentor. Despite being blinded during captivity, Vahid identifies this individual through the distinctive sound of their artificial limb. He then kidnaps him, transports him into the desert, and starts to entomb him underground.

However, to alleviate doubts, Vahid chooses to verify his suspicions by transporting the man, confined within his van, to meet with previous inmates for identification purposes. During this bizarre journey, everyone must face whether to seek vengeance or offer forgiveness towards the individual responsible for destroying their lives. This narrative draws heavily from Panahi’s personal experiences during incarceration as well as tales shared by fellow detainees he encountered behind bars.

It was an amalgamation of the experiences shared by all those individuals I encountered in prison, combined with my personal observations,” explained Panahi. “Take for example the common occurrence where you never see the face of your interrogator; this applies universally. However, many prisoners who have endured incarceration for over ten years possess far richer stories compared to mine, which made me particularly attuned and respectful towards their accounts.

“It Was Simply an Accident” could very well be Panahi’s most overtly political film to date. Undoubtedly, it is also his most tormented work. This can largely be attributed both to his personal experiences behind bars as well as the broader circumstances he faces.
demonstrations in Iran after the passing of Mahsa Amini.

I believe that eventually violence will become unavoidable. This is precisely what the regime aims for, as it provides them with an excuse for further suppression,” states Panahi. “The longer they persist and exert greater pressure on the populace, the more individuals will come to feel that they have no alternative recourse. That is when the situation will escalate into danger.

This does not imply that Panahi has lost all hope.

The Iranian people’s battle for liberty is incredibly valuable,” he states. “Their actions are truly remarkable. The regime is merely attempting to drive wedges among us. Their sole objective now is to foster discord amongst the populace.

In Iran, filmmakers must obtain script approval from the government before shooting in public spaces. Panahi declines to seek this approval because he knows they would not permit him to create the movies he envisions. He expresses dedication to filmmaking, observing that the drawback to having the ability to travel could be spending an entire year promoting his work rather than producing new content. On Thursday, Neon secured the North American distribution rights for the project.

There isn’t anything else I could accomplish. If I possessed different skills, perhaps I might have chosen another path,” remarks Panahi. “Once you realize that this is your sole option, you start finding solutions. Over time, I’ve adapted to it. Initially, it was more challenging because fewer individuals were involved in making underground films. In a sense, we pioneered this style, hence we’ve developed numerous methods through practice and experience.

Perhaps more so than any other filmmaker in the world, one can count on Panahi to discover ways of continuing his cinematic work regardless of the conditions he faces.

I’ll attempt it,” he nods, “at the very least.

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Jake Coyle
Has been covering the Cannes Film Festival since 2012. This year, he has watched around 40 films and is highlighting which ones catch his attention.

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To read more about the 2025 Cannes Film Festival, check out
https://apnews.com/hub/cannes-film-festival
.

Jake Coyle, The Associated Press