It Was Just An Accident (2025) - Film Review

      It Was Just An Accident, 2025.

      Written and Directed by Jafar Panahi.

      Featuring Vahid Mobasseri, Mariam Afshari, Ebrahim Azizi, Hadis Pakbaten, Majid Panahi, Mohamad Ali Elyasmehr, Delnaz Najafi, Afssaneh Najmabadi, and Georges Hashemzadeh.

      SYNOPSIS:

      A man abducts an intelligence agent whom he believes has wronged him and intends to kill him, but he is uncertain about the agent's identity. It Was Just An Accident demands patience from the outset. The film opens with a couple driving on a dark road at night, their faces the only visible feature as they engage in a quiet conversation. Suddenly, a child appears, bouncing between them from the back seat, unrestrained and distracting the father as he drives, waving a stuffed toy in his face and requesting to keep the loud music playing while he focuses on the road ahead, not glancing back. Will she cause an accident? Will she fly through the windshield? They collide with something, and thus begins a series of events that unfold over the next 24 hours.

      In It Was Just An Accident, Jafar Panahi maintains a tight focus on his characters throughout. The human face is the most compelling setting, and over the following 105 minutes, we remain with these unique individuals, primarily Vahid, a mechanic shop owner suffering from kidney issues, as we witness a day in their lives.

      The success of It Was Just An Accident lies in its excellent casting, with characters that possess distinct faces, making them feel like real individuals. Even the minor roles, such as security guards and nurses, contribute to the realism as they humorously solicit tips from the main character; such is life, after all. Everyone seems to want a share, which parallels the filmmaking process.

      The film's style is straightforward, utilizing simple blocking methods. Panahi prefers basic camera movements to capture the action rather than intricate dolly shots. During the opening accident, the camera remains fixed on the father as he leaves the vehicle to assess the damage. The night is carefully framed: every character’s face remains visible, either to one another or at least to the audience. (Take note, Hollywood.) In this film, what is seen and what is heard often differ. Panahi later employs the same panning technique during a kidnapping at a truck stop and later uses a telephoto lens as the van escapes. This slow panning approach grounds the film, demonstrating that engaging scenes don’t require frantic camera movements; instead, depth is used to invite the audience to connect with the visuals as they unfold.

      Shot discreetly due to the director's ban from filmmaking in his country, Panahi has utilized his limited resources effectively. This is not surprising, given his previous work involving a film set entirely in a taxi with himself as the lead. It Was Just An Accident, while taking place in various locations around the city, never feels like it exceeds its constraints. It is a small film centered on a small group, yet it reveals significant truths about human behavior.

      Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★

      Will Hume