It Was Just an Accident

FULL SPOILER-FREE REVIEW @ https://fandomwire.com/it-was-just-an-accident-review/ "It Was Just an Accident is a testament to the unwavering courage of Jafar Panahi, a filmmaker who refuses to be silenced. It's a brave protest executed as a psychological thriller that, despite occasionally stumbling in its own need to be overtly political — with the message sometimes delivered too directly — manages, in its conclusion, to transcend its narrative and raise moral questions that are difficult to ignore. An intense and intrepid invitation to confront the inconvenient truth that, under an oppressive regime, the line between justice and fatality is often drawn by chance." Rating: B

The desire for vengeance is indisputably a toxic force, one that can lead us to engage in unspeakable acts whose despicable nature is often on par with the wrongs committed against us. Consequently, we can’t help but ask ourselves if this is an acceptable, justifiable course. What’s more, no matter how much we may wish to seek retribution, are we truly capable of following through on such acts, especially if we can genuinely appreciate the harm those heinous deeds may have had on us? Those are the thorny questions raised in this latest offering from acclaimed Iranian writer-director Jafar Panahi, showing us how a simple mishap can spiral out of control, creating a chain reaction of problems that grows progressively difficult to contain. What begins as a minor traffic accident involving Eghbal (Ebrahim Azizi), a young husband and father, quickly snowballs into a progressively dangerous, intricately complicated scenario in which he’s unexpectedly spotted by Vahid (Vahid Mobasseri), a onetime-persecuted Azerbaijani dissident who believes that Eghbal is the Iranian government intelligence officer responsible for having tortured him while in captivity. But is he? Vahid is uncertain, but he nevertheless avails himself of the opportunity to kidnap the suspected culprit, threatening to bury Eghbal alive to get his revenge. However, as Vahid zealously digs Eghbal’s grave, he pleads with the kidnapper that he has the wrong man. Given his nagging uncertainty, Vahid gives his victim a reprieve, holding him hostage while trying to definitively prove his identity. This sets off a series of both perilous and surprisingly comical incidents involving other former radicals (Mariam Afshari, Hadis Pakbatan, Mohamad Ali Elyasmehr), all of whom struggle to determine whether the suspect is who Vahid contends. And, as this increasingly madcap situation plays out, additional complications arise that prompt Vahid and his peers to question if they can carry out this dubious venture. Having been on the receiving end of monstrous state-sponsored treatment allegedly at the hands of their captive, they wonder whether they can impose the same kinds of atrocities on him that had been thrust upon them. Their compassion and humanity gradually rise to the surface, increasing their hesitancy. Then they also wonder what would happen to them if Eghbal’s claims of innocence prove correct? The filmmaker skillfully wrestles with both sides of these questions and does so in ways that successfully combine gut-wrenching drama, chilling moments of terror, and inspired, masterfully implemented episodes of comic relief. These strengths aside, however, the narrative occasionally gets bogged down in overly talky sequences (especially in the overlong closing act), but, given Panahi’s long personal history of censorship, harassment and arrest by Iranian authorities, this is understandable. In fact, given the courageous but controversial views expressed herein, in some ways, I find it hard to fathom how this film got made in the first place. Nevertheless, for his efforts, the filmmaker has been deservedly rewarded with some prestigious accolades, including the Palme d’Or at this year’s Cannes Film Festival, the event’s highest honor. Ironically, much of what has transpired in Iran over the past 75 years feels akin to the metaphor driving this story, an ongoing series of unfortunate events in which the stakes are continually upped with each passing incident. Yet, those similarities aside, as fitting as the film’s themes and title might thus seem, chalking up everyday real world matters to being “just an accident” comes up distressingly short in describing what has actually gone on in Iran. Perhaps it takes an uncomfortably distressing fable like this to help us see what can happen when we let our impulses get the better of us – and to realize that some things we might attribute to mere accidents are, in the end, nothing of the kind.