In a cinematic landscape often dominated by tales of violent retribution, celebrated Iranian auteur Jafar Panahi offers a profoundly different and humane perspective with his latest film, 'It Was Just An Accident'. This critically acclaimed work, which won the prestigious Palme d'Or at the 2025 Cannes International Film Festival, has become an award season favourite, securing multiple Golden Globe nominations and positioning itself as a frontrunner for the upcoming Academy Awards.
A Film Born from Defiance and Personal Experience
Panahi's first feature since his imprisonment in 2022 is a testament to his unwavering artistic spirit. Despite Iran's strict censorship laws and a ban on his filmmaking, Panahi shot the movie clandestinely in Tehran with a small crew, non-professional actors, and a modest budget. He notably refused to seek government approval for the script, a defiant act consistent with his long battle to retain an authentic cinematic voice.
The film's narrative is deeply personal, drawing from Panahi's own experiences of being imprisoned and interrogated while blindfolded. It opens with a simple premise: a man travelling at night with his pregnant wife and daughter faces car trouble. The sound of his prosthetic leg and his voice trigger traumatic memories for the protagonist, Vahid, who was tortured in prison. Convinced this stranger is his former tormentor, Vahid kidnaps and blindfolds him.
Subverting the Revenge Narrative
Where typical revenge sagas escalate into spectacle, 'It Was Just An Accident' takes a morally complex and introspective turn. Vahid is not entirely sure of his captive's identity. Soon, a group of former prisoners who suffered under the same prison supervisor joins him. They recount harrowing stories of torture—though Panahi never visually depicts the violence—leaving the audience to shudder at the implications.
The core of the film becomes a gripping moral dilemma. The traumatised group debates whether to exact revenge, grappling with the cycle of violence and the search for justice. Panahi offers no easy answers or cathartic release. Instead, he presents a realistic, painfully human confrontation with trauma and the ambiguous path toward healing.
This approach starkly contrasts with many contemporary films that glorify vengeance. As Panahi explained in a virtual interaction this year, "Art in its nature does not allow one to write a prescription, a formula that fits all." His work, as a self-described "socially-engaged filmmaker," remains committed to realism and humanity.
Critical Acclaim and Award Season Dominance
The power of Panahi's vision has resonated globally. Following its Cannes triumph, the film, backed by Neon studio, has earned four Golden Globe nominations: Best Motion Picture (Drama), Best Director, Best Screenplay, and Best Non-English Language Film. It is now a strong contender for Best Picture and Best International Feature Film at the Oscars.
Interestingly, when meeting critics at the Toronto International Film Festival in September 2025, Panahi expressed unhappiness with certain aspects of the film upon revisiting it—a humble admission from a master who has never basked in accolades. This humility underscores the sincerity of his craft, developed through years of hardship, including two prison terms.
'It Was Just An Accident' is more than a movie; it is a brave political statement and a landmark of compassionate storytelling. By refusing to simplify trauma and revenge, Panahi has created what many are calling his bravest and most masterful work to date, a film that challenges audiences worldwide to reflect on justice, memory, and the cost of violence.
