logo
Neon Takes North America on Jafar Panahi's ‘It Was Just an Accident'

Neon Takes North America on Jafar Panahi's ‘It Was Just an Accident'

Yahoo22-05-2025

Neon has taken North American rights on revered Iranian auteur Jafar Panahi's Cannes competition title 'It Was Just an Accident,' which marks Panahi's first film since being released from prison in Iran.
The film, starring Mariam Afshari, Ebrahim Azizi, and Vahid Mobasser, was greeted with a long standing ovation and is a Cannes standout title.
More from Variety
Paul Mescal Says Movies Are 'Moving Away' From 'Alpha' Male Leads, Calls It 'Lazy and Frustrating' to Compare 'History of Sound' to 'Brokeback Mountain'
RAI Cinema Chief Paolo Del Brocco on Selling 'Heads or Tails' in Cannes and a New Victor Kossakovsky Doc Made With Italian Botanist Stefano Mancuso (EXCLUSIVE)
'Put Your Soul on Your Hand and Walk' Review: A Stirring Chronicle of a Gaza Journalist Who Was Killed Before Its Cannes Premiere
'It Was Just an Accident' centers around an outpouring of strong feelings by a group of former prisoners toward a torturous guard.
'When you spend eight hours a day blindfolded, seated in front of a wall, being interrogated by someone standing behind your back every day, you can't stop wondering what kind of conversation you can have with this man,' Panahi told Variety in one of his first interviews following his 14-year ban on making movies, speaking to the press and traveling.
The film is produced by Jafar Panahi and Philippe Martin and co-produced by Sandrine Dumas and Christel Henon, with David Thion and Lilina Eche serving as associate producers. The film is a Les Films Pelléas and Jafar Panahi Production from Iran/France and Luxembourg. MK2 Films is representing international sales rights.
The deal was negotiated by Neon's Sarah Colvin and Jeff Deutchman with MK2 Films' Fionnuala Jamison on behalf of the filmmakers.
'It Was Just An Accident' marks the second collaboration between Neon and Jafar Panahi, following 'The Year of the Everlasting Storm' which played in Cannes Special Screenings in 2021.
Panahi is is considered one of his country's greatest living film masters.
In 2010, the auteur — known globally for prizewinning works such as 'The Circle,' 'Offside,' 'This is Not a Film,' 'Taxi' and most recently 'No Bears' — was banned from making movies, speaking to the press and traveling, though he surreptitiously kept making them anyway. The ban was lifted in April 2023, and now Iranian authorities allowed him to travel to Cannes to launch 'It Was Just an Accident.'
Last year in Cannes Neon picked up 'The Seed of the Sacred Fig' from Iranian filmmaker Mohammad Rasoulof, which went on to be nominated for a BAFTA and for Best International Feature at the 97th Academy AwardsThis year in Cannes, Neon debuted Joachim Trier's much lauded 'Sentimental Value' and Julia Ducournau's 'Alpha' in competition, and Raoul Peck's 'Orwell: 2+2=5' and Michael Angelo Covino's 'Splitsville' starring Dakota Johnson and Adria Arjona which Neon also produced.
Best of Variety
New Movies Out Now in Theaters: What to See This Week
Emmy Predictions: Talk/Scripted Variety Series - The Variety Categories Are Still a Mess; Netflix, Dropout, and 'Hot Ones' Stir Up Buzz
Oscars Predictions 2026: 'Sinners' Becomes Early Contender Ahead of Cannes Film Festival

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

When 'The Life of Chuck' Will Be Available to Stream and How to Watch
When 'The Life of Chuck' Will Be Available to Stream and How to Watch

Cosmopolitan

time29 minutes ago

  • Cosmopolitan

When 'The Life of Chuck' Will Be Available to Stream and How to Watch

When you hear about a Mike Flanagan and Stephen King collab, you're definitely thinking that these kings of horror are getting ready to give us the scare of our life. But, shockingly, The Life of Chuck is anything but! Based off a small story by the iconic author, Mike Flanagan brings this hopeful science fiction story to the big screen! Oh, and did we mention that it stars Tom Hiddleston? Yeah, you're definitely going to want to watch for yourself! Here's everything you need to know about watching The Life of Chuck. The new Neon film came out as a limited release on June 6th and will soon move nationwide on June 13! Since it's a limited release for it's initial release, you might have to travel a bit if you want to see it on the big screen during its first weekend. Fans in Phoenix, Los Angeles, San Fransisco, Denver, Chicago, Boston, and New York can catch the movie starting on June 6. Fans at other cities will have wait June 13, but like all of our favorite films, it won't be on the big screen forever. Make sure to grab tickets ASAP before it leaves your local theater! Since it just came out in theaters, it's still a little too early to catch it on the smaller screen, but that doesn't mean you won't be able to watch it soon! Like most Neon films, there's a good chance that it'll land on Hulu after the two studios struck up a deal to them there. An exact date hasn't been announced yet, but we'll keep an eye out! But if you're not a subscriber, you can still rent or buy it at home via online stores like Prime Video, iTunes, Fandango at Home, YouTube, or Google Play. Or if you're a huge fan, you'll also be able to buy it on Blu-ray and DVD!

'Wicked: For Good' trailer gives us 1st look at Dorothy and the hunt for the Wicked Witch: Watch it here
'Wicked: For Good' trailer gives us 1st look at Dorothy and the hunt for the Wicked Witch: Watch it here

Yahoo

time35 minutes ago

  • Yahoo

'Wicked: For Good' trailer gives us 1st look at Dorothy and the hunt for the Wicked Witch: Watch it here

Grab your broomstick and your bestie: Wicked returned to select theaters on Wednesday — and it brought the Wicked: For Good trailer along with it. The first part of the Broadway musical adaptation hit theaters on Nov. 22, 2024, to critical and commercial acclaim. The final half of the two-part film is slated to arrive in theaters almost exactly one year later, on Nov. 21, 2025. The two-and-a-half-minute trailer, which premiered at special one-night screenings in North American theaters on Wednesday night, features Cynthia Erivo as 'Wicked Witch' Elphaba and Ariana Grande as the supposedly 'good' witch Glinda reprising their roles and singing "For Good" as they return to Oz. The trailer also gives fans a first look at Dorothy and the yellow brick road. Wicked: For Good picks up after Elphaba defied gravity on her broomstick and narrowly escaped the Wizard (Jeff Goldblum) and Madame Morrible (Michelle Yeoh) in order to save the animals subjugated by their tyrannical rule. Meanwhile, Elphaba's best friend, Glinda — afraid to give up her social status — chose to stay behind rather than join in on her mission. A new poster for the film shows the new looks for the characters in Wicked: For Good. Glinda is sporting a blue dress, while Elphaba is wearing an all-black ensemble — and the hat Glinda gifted her. Wicked: For Good places Glinda and Elphaba on opposite sides of major drama in Oz, with Glinda — who is still dating prince Fiyero (Jonathan Bailey) — acting as the Wizard's spokesperson. Meanwhile, the Wizard's henchmen are seeking to find and kill Elphaba, who all of Oz now considers 'wicked' thanks to good old-fashioned propaganda. How will this story end? Well, if you saw The Wizard of Oz, you probably think you know — with Dorothy and company dousing poor Elphie with water and killing her. Yet Wicked: For Good may surprise you — at least, if you haven't seen the musical.

Review: ‘Alice's Adventures in Wonderland' is Joffrey Ballet's wacky and wonderful season closer
Review: ‘Alice's Adventures in Wonderland' is Joffrey Ballet's wacky and wonderful season closer

Chicago Tribune

timean hour ago

  • Chicago Tribune

Review: ‘Alice's Adventures in Wonderland' is Joffrey Ballet's wacky and wonderful season closer

The Joffrey Ballet's season rarely extends this far into summer, but it's safe to say 'Alice's Adventures in Wonderland' was worth the wait. This beast of a ballet by the Tony Award-winning choreographer Christopher Wheeldon had its North American premiere at the Lyric Opera House on Thursday. If, like for me, Lewis Carroll's 1865 fairy tale about a girl who stumbles into Wonderland is a core memory, all those beloved characters are there, with a splendidly cogent (and at times delightfully grotesque) libretto. It's more Tim Burton than Disney, but you'll recognize moments no matter your preferred version (including my personal favorite, the 1985 TV movie musical starring Jayne Meadows and Carol Channing). Following a drowse-inducing garden party at her Victorian Oxford estate, Alice (magnificently danced Thursday by Amanda Assucena) awakens to find an anxiously tardy White Rabbit (Stefan Gonçalvez). She of course must follow him, kicking off a series of Don Quixote-style adventures with wild, wacky and terrifying characters. Letting her curiosity guide her, she encounters a tea party hosted by a tap-dancing Mad Hatter (Edson Barbosa) and a slithering Cheshire Cat (whose dismantlement is made possible by a corps of dancer-puppeteers). Indeed, 'Alice's Adventures in Wonderland' will resonate strongly with those who adore 'Alice' — so much so that Joffrey extended the production to three weekends before it opened. In any case, exploiting its usefulness as a ballet was far overdue. There is much within Wheeldon's zany world for everyone to admire. Very small children may not appreciate some scarier moments, most notably a scene at the Duchess' house, in which viewers quite literally see how the sausage gets made. The brutish Duchess (Dylan Gutierrez) and her ax-wielding cook (Lucia Connolly) contribute some of the night's most, um, salient imagery. The pair of them (along with henchmen Valentino Moneglia Zamora, Hyuma Kiyosawa and Xavier Núñez) are terrifically terrifying. 'Alice's' third and final act is devoted almost wholly to the search for who stole the Queen of Hearts' tart. It begins with a game of croquet, played with bendy flamingoes on pointe as the mallets, striking adorable summersaulting hedgehogs. This not-so-regal realm, ruled by prima ballerina Victoria Jaiani as supreme leader, embarks on a tribunal when it's uncovered that the Knave of Hearts — a two-eyed Jack danced by the princely Alberto Velazquez — is most likely the offender and about to lose his head. Hilarity ensues. As hard as it will be to peel your eyes from Jaiani, every once in a while, be sure to glimpse her ridiculous King (marking David Gombert's glorious return to the Joffrey stage 15 years after retirement). There are tender moments, too, particularly in a satisfyingly sweet duet for Assucena and Velazquez as Alice tries to accept the blame in tart-gate. She eventually prevails, if only by waking up back in Oxford. If there's a lesson to be learned from 'Alice's Adventures in Wonderland,' it might be that taking the blame for your boyfriend's impropriety could turn out poorly. That, and vindictive, power-hungry leaders whose kingdoms are built on a literal house of cards are not likely to succeed. Cleverly, 'Alice' borrows hallmarks from the ballets of Carroll's time, winking at canonical works like 'The Nutcracker,' 'Sleeping Beauty' and 'Cinderella.' There's a waltz of flowers; a for our protagonist and her scrappy love interest; a hilariously satirized 'Rose Adagio' for the Queen of Hearts and four suitors (in this case, hearts and clubs); and a shirtless, hookah-smoking sultan-turned-Caterpillar (Jonathan Dole) performing a seductive take on 'the worm' with a quartet of scantily clad temple women. I'm pretty sure we didn't need that last one when 'Alice' premiered in London in 2011, and I'm certain we don't need it in 2025 — though I'll take the cameo of academy kids as sparkly pointe-shoed caterpillar legs all day, every day, plus Sunday. To be clear, such tongue-and-cheek references now to 19th century ballet are generally welcome and especially fun for those who see the parallels — perhaps even more so to those familiar with Wheeldon's catalog, too, which includes Joffrey's nearly decade-old 'Nutcracker.' In some instances, that ballet and this one parrot one another; Wheeldon went so far as to use some of the exact same ideas in his 'Nutcracker's' transformation and snow scenes, further tugging the plot parallels to these two coming-of-age stories set in magical fairy lands that may or may not have all been a dream. But 'Alice's' superpowers, all due respect to 'The Nutcracker,' are its magnificently evocative original score (by Joby Talbot) and Wheeldon's pinpointed attention to detail in every character, masterfully embraced by the Joffrey's excellent dancers, whose full-throttled performances and comedic prowess grab you and hold on for the entirety of this (very, very long) spectacle. Another thing: Wheeldon's imagination could only run this wild in a superbly-crafted Wonderland, made possible through the ingenuity of scenic and costume designer Bob Crowley, lighting designer Natasha Katz, projectionists Jon Driscoll and Gemma Carrington and puppeteer Toby Olié — seamlessly executed by a Joffrey team that, frankly, has never attempted something this big. 'Alice' was originally created for London's Royal Ballet, a company of 100 dancers and nearly 10 times Joffrey's budget. Until Thursday, it had not been performed this side of the Atlantic. Pulling it off was going to be a challenge. But they did. And Wonderland turned out to be a risk that will pay off in Joffrey Ballet presents 'Alice's Adventures in Wonderland' (4 stars) When: Through June 22 Where: Lyric Opera House, 20 N. Wacker Drive Running time: 2 hours, 50 minutes with 2 intermissions Tickets: $45-$233 at 312-386-8905 and

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store