Jafar Panahi returns to Cannes with political prisoner satire
Banned Iranian filmmaker Jafar Panahi enters Cannes competition with his new film It Was Just An Accident, confronting political injustice through humor.
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| The Cannes Film Festival logo is seen on display on the eve of the 78th edition of the festival in Cannes, southern France, on May 12, 2025. Photo by Sameer Al-Doumy/AFP |
By Novanka Laras and Hayu Andini
Acclaimed Iranian director Jafar Panahi made his long-awaited return to an international stage on Tuesday, attending the Cannes Film Festival for the first time in 15 years. His latest film, It Was Just An Accident, a sharply observed satire on the plight of political prisoners, is competing for the festival’s top honor, the Palme d'Or. The Jafar Panahi Cannes return represents not just a personal milestone, but a significant cultural moment in the ongoing struggle between artistic freedom and state repression in Iran.
A quiet defiance on the global stage
The 64-year-old director has endured censorship, arrest, and years of professional exile imposed by Iranian authorities. Since 2009, Panahi has been repeatedly detained and officially banned from filmmaking. Nonetheless, he has continued to produce socially charged works that have garnered acclaim worldwide. His new film, screened at Cannes on Tuesday, continues this tradition by drawing on his own experiences in prison to craft a darkly humorous tale of resistance.
Speaking with Screen magazine ahead of the premiere, Panahi explained, “One of the characteristics of the Iranian people is their humor. This regime has tried for over four decades to impose tragedy and suffering, but Iranians always come up with jokes.” That resilient spirit is at the heart of It Was Just An Accident, which tells the story of prisoners who seek an absurd but meaningful form of revenge on their captors.
An underground masterpiece
Although Panahi is no longer officially banned from directing, he emphasized that his circumstances remain largely unchanged. “It didn't really change my actual situation,” he told Screen. “I still had to work illegally.” According to a source close to the filmmaker, the new film was shot secretly without state funding—a hallmark of Panahi’s post-ban career.
His 2022 work No Bears, also filmed covertly, premiered at the Venice Film Festival and won the Special Jury Prize while Panahi was still imprisoned. That legacy of resistance has continued, culminating in the Jafar Panahi Cannes return, a symbolic act of creative defiance.
On Sunday, Panahi posted a photo of himself at the airport to Instagram with the caption: “The travellers are on their way,” signaling his quiet but powerful reentry into the global film community.
Iranian cinema under pressure
Panahi is not the only Iranian director in Cannes this year. Mother and Child, the latest offering from director Saeed Roustaee, is also in competition. Roustaee was sentenced to six months in prison for his 2022 Cannes entry Leila’s Brothers, illustrating the precarious balance Iranian filmmakers must strike between artistic expression and political survival.
Notably, exiled Iranian directors have criticized Roustaee’s current film, but fellow Cannes regular Mohammad Rasoulof defended him, telling Variety, “There’s a clear distinction between the propaganda films of the Islamic Republic and the films that are made under the constraints of censorship.”
Cannes has long served as a platform for embattled Iranian artists, and the Jafar Panahi Cannes return reinforces the festival’s role as a sanctuary for those silenced at home.
A politically charged festival
Panahi’s film arrives during one of the most politically turbulent editions of Cannes in recent memory. Discussions around war in Gaza, women’s rights, and U.S. trade policies have dominated both on-screen narratives and red carpet discourse.
New regulations have even altered red carpet norms, with festival officials banning overly revealing outfits and extravagant trains due to space constraints. Against this backdrop, Panahi’s understated presence and unflinching storytelling offer a quiet counterpoint to the spectacle.
Denzel Washington honored amid tension
Amid the politically loaded atmosphere, American actor Denzel Washington received a surprise honorary Palme d'Or on Monday night at the premiere of Highest 2 Lowest, his latest collaboration with director Spike Lee. The occasion marked Washington’s debut at Cannes.
“It’s a total surprise. I’m so emotional,” Washington reportedly said during the event. However, a minor altercation on the red carpet temporarily soured the moment. A photographer grabbed Washington’s arm while he posed for pictures, prompting the actor to pull away and sternly warn him to “Stop it,” as seen in video footage.
Despite the tense exchange, Washington and Lee’s film earned enthusiastic praise. Loosely based on Akira Kurosawa’s 1963 masterpiece High and Low, the film has been hailed as a dynamic and stylish work. The Hollywood Reporter praised its “kinetic energy,” while The Guardian lauded Washington’s “monarchical assurance” as a music industry titan.
Political satire takes center stage
With global attention on Cannes, It Was Just An Accident arrives as more than a film—it’s a statement. In exploring the lives of political prisoners through satire, Panahi connects personal suffering to a broader cultural and political narrative. The Jafar Panahi Cannes return may not result in a Palme d'Or, but its symbolic weight is undeniable.
The film’s critical reception could signal how far international audiences are willing to embrace works that blend humor with human rights commentary. More importantly, Panahi’s presence signals to repressive regimes that creativity cannot be easily stifled.
A wider legacy in focus
Panahi’s appearance and the screening of It Was Just An Accident also reignite debate about the role of Western film festivals in amplifying suppressed voices. While some argue that including censored filmmakers in high-profile lineups is an act of solidarity, others contend it can be used as propaganda by repressive states. This duality is illustrated by Iranian state media, including IRNA, celebrating Roustaee’s Cannes selection—even as the filmmaker faces backlash from exiles.
Nevertheless, for audiences, the enduring image of Panahi walking the Cannes red carpet—after years of silence, subversion, and struggle—is a reminder of cinema’s power to transcend borders and challenge authority.
The 77th Cannes Film Festival continues through Saturday, with awards to be announced at the closing ceremony. Whatever the outcome, Jafar Panahi Cannes return has already made a lasting impression.
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