Mohammad Rasoulof: Why isn’t A Simple Accident submitted to the Oscars by Iran?
According to CinemaDrame News Agency, Mohammad Rasoulof, in a statement on his personal Instagram page, voiced support for Jafar Panahi’s latest film as a contender for the Oscars:
“Years ago, when Iran’s censorship-defying cinema began to emerge, some dismissed it with a smirk, calling it a clumsy and ambitious attempt by filmmakers chasing festivals and awards. But patience and perseverance have proven otherwise. Today, Iran’s censorship-defying cinema has not only won the world’s most important film prizes but has also shone with successful and widely attended public screenings across many countries, earning critical acclaim.
Now, A Simple Accident stands as a rare example on this path—one that could become an exceptional opportunity for Iranian cinema to shine once again.
The film has rapidly achieved an unusual critical consensus. Many reviews have hailed it as a masterpiece: tense and human, furious yet infused with humor and hope (1). Most critics have described its ending as ‘devastating and unforgettable.’ They emphasize its ability to blend genres—from high-strung thriller to black comedy, political drama, and intimate human portrait—regarding it as an important cinematic achievement (2).
The political and moral dimensions of the film—ranging from the experiences of victims of repression to the tension between revenge and forgiveness—together with the acclaimed performance of actress Maryam Afshari as the photographer, and haunting motifs such as the wedding dress, give the film a unique place (3).
Panahi’s filmmaking has been described as ‘condensed, precise, brutal yet humane,’ with some comparing it to Beckett’s works. Many critics wrote that the film lingers in the mind for a long time—an observation that clearly highlights its artistic significance (4).
Now, the film is considered one of the major contenders for awards season, particularly the Oscars. Perhaps it sounds optimistic, but if the Iranian film community wills it, for the first time it could disregard the regime’s preferences and submit the strongest Iranian candidate—one almost certain to secure the Academy Award for Best International Feature Film. One may bow to power and scoff at the idea; but just as censorship-defying cinema has become an undeniable part of Iranian cinema as a whole, the Iranian film community, in a historic moment, could impose its will on the authorities with such a decisive choice.”
Sources:
- Cineuropa – Davide Abbatescianni, Review of A Simple Accident, May 21, 2025.
The Guardian – Peter Bradshaw, Cannes review: A Simple Accident, May 20, 2025. - Cineuropa, 2025.
The Times – It Was Just an Accident review, May 20, 2025.
The Guardian – Bradshaw, 2025. - The Times – Festival coverage, May 2025.
El País – Jafar Panahi gana la Palma de Oro en Cannes, May 24, 2025. - The Guardian – Peter Bradshaw, 2025.
The Washington Post – Iranian dissident Jafar Panahi wins Palme d’Or at Cannes, May 24, 2025.
