It Was Just an Accident
Driving with his pregnant wife (Afssaneh Najmabadi) and young daughter (Delmaz Najafi), Rashid (Ebrahim Azizi, the cast's only professional actor) hits a dog on an unlit road. The mother, attempting to console her upset daughter, tells her that god must have put the animal in their path for a reason, but the little girl rejects the idea, saying god had nothing to do with it, that her father just killed it. But their car stalls out and when Vahid (Vahid Mobasseri, "No Bears"), upstairs in the repair shop, hears the squeak of the man's artificial leg joint, he follows him, believing he is 'Eghbal the Peg Leg' who tortured him in prison in Iranian writer/director Jafar Panahi ("The Circle," "No Bears") 2025 Palme D'Or winner and France's submission for the 2026 International Oscar, "It Was Just an Accident."
Laura's Review: B+
After making movies like "This Is Not a Film" which reflected on life during house arrest after his first, mostly solitary prison sentence for 'creating propaganda,' Panahi is now responding to a second prison sentence, one which he shared with more countrymen whose stories and subsequent reaction to the regime inform this screenplay. It is a film about justice, revenge and accountability and the differing ways people move past trauma. It is also tinged with mystery, sadness and, surprisingly, humor and a little bit of joy, as five former prisoners try to determine if Vahid has indeed kidnapped their tormentor.
After hitting Rashid with his van, Vahid immediately brings him out into the desert, digging a hole to bury him alive, but the man's protestations of innocence rattle his certainty, and so Vahid takes the man's artificial leg and goes to visit fellow prisoner, Salar (George Hashemzadeh), for confirmation. Salar is alarmed by what Vahid has done, however, but while he won't cooperate, he does refer his friend to another in their circle. When Vahid arrives to talk to Shiva (Mariam Afshari), he finds her taking wedding photos and none too happy to be interrupted by this trouble, but after calling Salar, she agrees to check out the man in a coffin-like box in he back of Vahid's van, saying he stinks like Eghbal. Vahid has also recognized the bride, Goli (Hadis Pakbaten), and indeed when she learns just what's going on, she angrily demands 'Where is the bastard?' alarming her groom-to-be Ali (Panahi's nephew, Madjid Panahi, "Taxi"), who says she is too fragile for this encounter and that they need to get Hamid (Mohamad Ali Elyasmehr), who will prove the most aggressively vocal about wanting to execute the captive. Mahid's constant haranguing of the group for not acting reveals a former relationship with Shiva.
In addition to the differing reactions to Vahid's action, we learn more about these people from the tales they tell of their captivity. Vahid, we learn, has been given the nickname Jughead because of the way he keeps his hand placed on his back, forming a 'handle,' due to the constant pain he now endures after vicious beatings. Mahid is certain the man is Eghbal after feeling both his legs, saying the man boasted constantly about losing one in the war with Syria and forced Mahid to massage them daily. Most disturbing is Goli's story, heard by Ali for the first time, relating how she was blindfolded and put upon a platform, a noose around her neck, Eghbal taunting her about her imminent death - for three hours - before stating that as a virgin she would enter heaven, he needed to make sure she wasn't one.
Panahi has fun with the Iranian custom of baksheesh, often verging here to a bribe. The inclusion of a wedding couple within the van draws a musical band when they park, demanding money as 'good wishes.' Vahid says he has no cash. Later, security guards will 'suggest' an appropriate fee when they cover their presence by Shiva taking wedding photos. Vahid says he has no cash. But they take credit! The situation escalates when a phone call to Rashid's home turns into a rescue mission of his pregnant wife, everyone now wanting acknowledgement of a birth. Vahid buys pastries. But Panahi gets back to business to answer the question that's been hanging over the film during most of its run time and it is a tense scene, only Vahid and Shiva left with Rashid, cast in the eerie red glow of Vahid's van's taillights. A coda offers both joy and a troubling return.
The cast all carve out unique identities, the nonprofessionals every bit as organic within Panahi's tale as Najmabadi. Cinematographer Amin Jafari ("Hit the Road") crafts notable compositions and uses color to tie things together, Vahid's shirt the same pale yellow as the sands of the desert where he digs his hole. The film has no score, using diegetic music, like the band which plays for the married couple on the roadside. With "It Was Just an Accident," Panahi bravely continues to criticize the Iranian regime, this time looking from the outside in.
Robin's Review: B+
Director Jafar Panahi has never been a fan of the current Iranian government and his films represent that well. Here, with his Palme D’Or winner at Cannes this year, we have a story of revenge, mistaken identity, doubt and uncertainty as Vahid (Vahid Mobasseri) acts on his hunch that the man in the car is Eghbal (Ebrahim Azizi), his tormentor.
Certain of his identification, Vahid takes the bound and gagged man to a remote, isolated site, digs a hole and plans to bury him alive. The man, who may or not be the torturer, begs for his life. Vahid decides to verify his certainty with confirmation from others who suffered the same fate. This begins a journey of discovery where some are dead certain, while others doubt that the man was their tormentor.
This doubt among the witnesses – they were blindfolded during their capture – colors the decisions made. Is Vahid right and his planned punishment validation of being right? The man, Eghbal, insists his innocence despite his injured leg, which gives him a recognizable limp – Vahid’s first clue to Peg Leg’s identity.
The moral dilemma Vahid and his fellow ex-prisoners face hinges on a positive ID. But, the witness doubts prevent a decision being made. The final actions made left me with my own doubts about Eghbal’s guilt or innocence. That is the power in Panahi’s films – he makes a strong political statement but with a simple story of revenge and uncertainty.
Neon releases "It Was Just an Accident" in NY on 10/15/25, expanding on 10/24/25 and 10/31/25.
