Jafar Panahi, the renowned Iranian filmmaker, has asserted that Iran’s regime has effectively collapsed in the wake of deadly nationwide protests, offering a poignant critique from exile while promoting his Oscar-contending film. In interviews with CNN and The Guardian, Panahi linked the current unrest to his latest movie, ‘It Was Just an Accident,’ which explores themes of revenge and forgiveness in a country grappling with political repression.
Protests ignited by Iran’s severe economic crisis have swept across cities since late December, prompting a brutal government crackdown that has resulted in significant casualties. According to reports, at least 2,400 protesters have been killed and thousands arrested, with an internet blackout imposed last Friday signaling an escalation in violence. Panahi, speaking from Los Angeles where he is engaged in awards season promotions, described the regime as having ‘fallen politically, economically, ideologically and even environmentally,’ leaving only a shell that cannot sustain itself.
The director’s personal history underscores his credibility as a dissident voice. He has faced multiple arrests, imprisonments, and a 20-year ban on filmmaking imposed by Iranian authorities, yet has continued to produce critically acclaimed works. His recent sentence in absentia to one year in prison for ‘creating propaganda against the political system’ has not deterred him, and he plans to return to Iran after the Oscars, despite the risks.
‘It Was Just an Accident,’ which won the Palme d’Or at Cannes and is France’s entry for the best international feature Oscar, serves as a metaphor for Iran’s political dilemmas. The film follows former prisoners debating whether to seek revenge on a suspected interrogator, reflecting Panahi’s concerns about perpetuating cycles of violence. He emphasized that the current state savagery makes it difficult to break this cycle, but expressed hope for a future based on humanistic values rather than retribution.
Panahi’s analysis extends to the regime’s stability, predicting its inevitable collapse based on historical patterns of dictatorship. However, he acknowledged the uncertainty of timing and warned against viewing the clerical leadership as rational actors. He noted that the regime’s primary goal seems to be maintaining power at any cost, even if it leads to the country’s destruction.
The filmmaker also commented on the role of the Iranian diaspora and figures like Reza Pahlavi, the exiled son of the former shah, in the protests. While recognizing Pahlavi’s calls for change, Panahi stressed the need for unity during a transition period and ultimately a referendum to determine Iran’s future governance, reflecting a commitment to democratic principles.
Internationally, Panahi’s film has garnered significant attention, highlighting the intersection of art and politics. His work not only critiques the Iranian regime but also serves as a testament to the resilience of creative expression under oppression. The ongoing awards campaign has provided a platform for his message, though it contrasts sharply with the repression faced by artists and activists within Iran.
As Panahi prepares to potentially return to a volatile homeland, his statements resonate as a powerful indictment of the regime and a call for peaceful resolution. His journey from imprisoned director to global award-winner symbolizes the enduring struggle for freedom in Iran, with his art and activism continuing to inspire both domestic and international audiences.
