Dissident Iranian filmmaker Panahi wins Cannes top prize
CANNES - Iranian dissident director Jafar Panahi won the Palme d'Or top prize at the Cannes film festival on Saturday, using his acceptance speech to urge his country to unite for "freedom".
The latest film from the 64-year-old, "It Was Just an Accident", tells the tale of five ordinary Iranians confronting a man they believed tortured them in jail.
The core of the provocative and wry drama examines the moral dilemma faced by people if they are given an opportunity to take revenge on their oppressors.
Panahi, who was banned from making films in 2010 and has been imprisoned twice, used his own experiences in jail to write the screenplay.
"Let's set aside all problems, all differences. What matters most right now is our country and the freedom of our country," he told the VIP-studded audience on the French Riviera.
The leading light in the Iranian New Wave cinema movement has vowed to return to Tehran after the Cannes Festival, despite the risks of prosecution.
When asked on Saturday evening if he was worried about flying home, he replied: "Not at all. Tomorrow we are leaving."
Iran was shaken by the "Women, Life, Freedom" protests in 2022 sparked by after the death in custody of 22-year-old Mahsa Amini after she was arrested for allegedly flouting dress rules for women.
The demonstrations were quashed in a crackdown that saw thousands detained, according to the United Nations, and hundreds shot dead by security forces, according to activists.
Panahi has won a host of prizes at European film festivals and showcased his debut film "The White Balloon" in Cannes in 1995 which won an award for best first feature.
The head of the Cannes 2025 jury, French actress Juliette Binoche, paid tribute to "It Was Just an Accident".
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Daily Maverick
29-05-2025
- Daily Maverick
From Cannes 2025: Five standout films you should watch next
With the Cannes Film Festival acting as a very early awards season indicator, these are the most acclaimed and notable films to put on your Must Watch List in 2025. The Cannes Film Festival is about more than Riviera-side schmoozing, 15-minute standing ovations and their booing flipside (plus the new addition of lengthy blackouts). The iconic film festival is an early indicator of potential award season contenders. Last year alone, Anora, which took home the festival's highest honour, the Palme d'Or, went on to win five Academy Awards, including Best Picture. Fellow Oscar winners The Substance, controversial Emilia Pérez, and Animated Feature upset Flow all premiered at Cannes. Notably, before that, Bong Joon-ho's Parasite made the journey from Palme d'Or to Academy Award in 2019-2020, while legal drama-mystery Anatomy of a Fall picked up Best Original Screenplay at several awards ceremonies following its 2023 Palme d'Or win. 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Is it an escalating parody of American divisiveness? Does it actually harbour MAGA leanings as it jeers at mask mandates and other liberal ideas? With a wider release set for July, you'll have to watch this moody modern Western, which pits Joaquin Phoenix's small-town sheriff against Pedro Pascal's mayor in the early days of the Covid pandemic, with their friends and neighbours taking sides, and things turning violent. DM
eNCA
28-05-2025
- eNCA
Rocking 'King Lear' to draw young audience in Iran
TEHRAN - An Iranian director is breathing new life into William Shakespeare's "King Lear" with a bold staging in Tehran infused with rock music and a dazzling light show to attract younger audiences. In Iran, artists, writers, filmmakers, musicians and playwrights must walk a tightrope to avoid censorship of content the authorities deem inappropriate. But despite political tensions between Tehran and the West, many international works still make it to the Iranian stage. Now well-known actress Elika Abdolrazzaghi has taken on the challenge of reimagining "King Lear" for a contemporary audience. "If I had staged the original version, it would have been too heavy for people -- they would have been bored," the 45-year-old told AFP. To inject energy into the performance, Abdolrazzaghi has incorporated music from British rock band Muse and German industrial metal group Rammstein. Vivid costumes and sparkling lights lend the production a festive atmosphere, despite the play's dark core. First published in the early 17th century, "King Lear" tells the story of a crumbling monarchy and a family torn apart by betrayal, power struggles and hunger for the throne. An ageing and weary Lear decides to divide his kingdom between his three daughters, based on how well they flatter him in public. - 'No restrictions ' - AFP | ATTA KENARE Naive and prideful, Lear disowns Cordelia, his youngest daughter, who refuses to join the charade. "I transformed many word-heavy sections of the play into movement, imagery, music and dance," Abdolrazzaghi said. The actors wear richly detailed costumes in bold reds, greens and yellows, inspired by classic fashions from the 17th century. Reza Yazdani, a household name in Iran's rock scene, performs the Persian-language songs live on stage. The production has struck a chord with theatregoers. "We didn't think we could sit through a two-hour play," Amin, a 32-year-old engineer, told AFP. "But it was really good -- from the actors' performances to the music and set design," he said after going to the play with his wife, Elham. With a company of around 100 people, including several dozen actors, Abdolrazzaghi and her team spent several months preparing the show. "In Iran, there are many women directing theatre, but few are well known," she said. Abdolrazzaghi, who has performed in works by Bertolt Brecht, Friedrich Durrenmatt from Switzerland and France's Yasmina Reza, says the Iranian authorities impose "no restrictions" on staging foreign plays. - 'A more just world' - "Theatre is essentially a Western phenomenon and remains a young art form in Iran," said Abdolrazzaghi. Ahmad Saatchian, the lead actor and a stage veteran with two decades of experience, calls Lear "the greatest role" of his career. "Portraying one of the most important characters in literary history is a rare opportunity for an actor," he said. Tragedies such as "King Lear" are "universal and resonate with people around the world -- that's why Shakespeare remains timeless," he added. In recent years, many of Shakespeare's works have been performed in Iran. "Countries that have experienced similar political dynamics -- like Iran or those in Eastern Europe -- tend to connect deeply with Shakespeare's work," said Saatchian. In the final act, Lear, broken by betrayal, regains clarity before his death. "In one scene, Lear calls on those in power to expose themselves to the suffering of the poor in order to build a more just world," Saatchian said. "That's a message that resonates everywhere."
IOL News
27-05-2025
- IOL News
South Africa at Cannes: A Story of Overlooked Talent and Systemic Barriers
French actor and master of ceremony Laurent Lafitte (L) gestures on stage as Iranian director and screenwriter and producer Jafar Panahi (C) poses on stage with Australian actress Cate Blanchett (centre L) and French actress and president of the jury of the 78th Cannes Film Festival Juliette Binoche after winning the Palme d'Or for the film "Un simple accident" (A Simple Accident) during the closing ceremony at the 78th edition of the Cannes Film Festival in Cannes, southern France, on May 24, 2025. Image: Valery Hache / AFP The Cannes Film Festival remains synonymous with Hollywood glamour, it also serves as a vital platform for lesser-known filmmakers and actors to gain recognition for their exceptional work often produced on budgets far smaller than those of major studios. This year was particularly remarkable for Middle Eastern cinema. The prestigious Palme d'Or was awarded to Iranian writer-director Jafar Panahi for his gripping thriller "Unsimple Accident," filmed without approval from the Islamic Republic. Meanwhile, "Once Upon a Time in Gaza" won Best Director in the Un Certain Regard section, and Iraqi filmmaker Hassan Hadi took home the Camera d'Or for "The President's Cake." French-Algerian actress Nadia Melliti earned Best Actress for her role in "The Little Sister," and Palestinian director Tawfeek Barhoum won the Palme d'Or for Short Film with "I'm Glad You're Dead Now." These triumphs highlight not only the exceptional craftsmanship of Middle Eastern cinema but also the global fascination with authentic, auteur driven stories from the Islamic world. In the festival's 78-year history, only two South African films have been selected for the Cannes Official Selection. This year, Oliver Hermanus' "The History of Sound," a privately funded gay period drama starring Paul Mescal and Josh O'Connor, competed in the main selection. Based on the eponymous short story, the film marks South Africa's second appearance in the Cannes Official Selection. The first was Elaine Proctor's "Friends" (1993), a poignant drama about three women from different factions of South African society sharing a house in Johannesburg at the twilight of apartheid. Notably, 'Friends" is written and directed by a woman, shot by a female cinematographer (Dominique Chapuis), and featuring a predominantly female cast, received an Honourable Mention for the Camera d'Or. This was a monumental achievement, especially considering that, in its 78- year history, only 82 women directors have been included in Cannes' Official Selection. Today, Proctor is a critically acclaimed novelist based in the UK. Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Advertisement Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Next Stay Close ✕ As a writer-director, I was inspired by Proctor's legacy. After completing the screenplay for my feature "Two Hues," I reached out to her, and to my delight, she responded. She agreed to direct the film—pending funding—after reviewing the script and offering valuable feedback. For any writer, such validation is invaluable. Bolstered by Proctor's involvement, I applied for funding through South Africa's National Film and Video Foundation (NFVF). Despite her prestige, my applicationswere rejected. Through conversations with industry insiders, I learned that the NFVF has, over the past five years, prioritised a select group of producers and directors, maintaining a status quo that sidelines independent voices, no matter their merit. This raises serious concerns about transparency, panel selection, and equitable processes. Since its inception in 1999, the NFVF has been mandated to promote equity and inclusion in South African cinema. Yet, in 26 years, it has never funded a single South African film selected for The Cannes Official Selection. Instead, millions of rands are spent annually on sending delegations to Cannes, hosting events, and maintaining a presence at the festival, now reduced from a pavilion to a mere stand. In 2018, my documentary "District Six: Rising from the Dust" was showcased at the Marché du Film. While I initially underestimated its significance, the South African press recognised its impact, given its exploration of forced removals and District Six's history. Navigating Cannes alone was daunting. The festival's overwhelming Hollywood-centric atmosphere, red carpets, star-studded premieres, and industry giants, made it clear that independent and documentary filmmakers operate on the periphery. However, I eventually found my footing at Cannes Docs (then Doc Corner), where Pierre-Alexis Chevit expressed interest in my work and proposed a South African showcase for the following year. Back home, I facilitated an introduction between the NFVF and Cannes Docs, only to face exclusion from the subsequent call for submissions. Fortunately, Cannes Docs intervened with a direct invitation, forcing the NFVF to include me. Yet, at the festival, our delegation received no logistical or promotional support, no pitch training, no introductions, and notably no attendance from NFVF leadership, despite their presence at Cannes. This neglect stood in stark contrast to the robust support other nations, like Palestine, provided their filmmakers. In recent years, the NFVF has funded one documentary annually for a Cannes Docs spotlight— without an open industry call. Instead, selections are made in collaboration with Encounters Documentary Festival, raising concerns about fairness and transparency. Why should a festival funded by the NFVF gatekeep such opportunities? This year (2025), the NFVF was conspicuously absent from Cannes, with only the IDC and KZN Film Commission representing South Africa. In a letter to the NFVF Council, Minister Gayton McKenzie denied travel approval for NFVF, urging compliance with the NFVF Act, which mandates that 75% of its budget be allocated to film production. As an industry, we continue advocating for structural reform, transparent processes, adherence to legislation, and better support for intellectual property. Only then can South African filmmakers truly compete on the global stage. Weaam Williams is a multiple award-winning filmmaker, actress and tech founder. Image: Supplied * Weaam Williams is a multiple award-winning filmmaker, actress and tech founder. ** The views expressed do not necessarily represent those of Independent Media or IOL.
