Iran Sentences Jafar Panahi to Prison in Absentia—As He Wins Gotham Awards in New York
In a stark reminder of its intolerance of dissent, Iran’s judiciary sentenced internationally renowned filmmaker Jafar Panahi in absentia to one year in prison on charges of “propaganda activities against the system”—along with a two-year ban on leaving the country. The decision by Branch 26 of the Tehran Revolutionary Court was announced via an X-post from his lawyer, Mustafa Nili, who vowed to immediately appeal. Surprisingly, the news broke Monday evening while Panahi was in New York City accepting three major Gotham Awards for his latest triumph, “It Was Just an Accident,” which won the Palme d’Or at Cannes in September. Panahi remained silent on the verdict, leading to speculation that he might return home.
This is not Panahi’s first clash with authorities. The 65-year-old writer has endured persecution for more than two decades: arrest, imprisonment, a travel ban, and a 20-year ban on filmmaking after his conviction in 2010 for “propaganda against the state.” That initial six-year sentence—combined with a period of house arrest and a hunger strike in Evin Prison in 2022-2023—never completely broke his spirit. After his release, he secretly shot “It Was Just an Accident” in Iran, drawing inspiration from fellow prisoners’ blindfolded stories of torture and revenge fantasies. Older prisoners recognize a potential torturer but hesitate, their prison hoods clouding their convictions—a crude example of Iran’s murky justice.
Panahi’s Defiant Career: Art as Resistance
Panahi burst onto the scene with Iran’s Oscar submission, “The White Balloon” (1995), and launched his career by blending neorealism and lighthearted transformation. Films like “The Circle” (2000 Venice Golden Lion) and “Offside” (2006) exposed the oppression of women under hijab laws, earning him worldwide acclaim and angering Tehran. After the 2009 Green Movement protests, authorities cracked down: no films, no interviews, no travel—yet he managed to smuggle in masterpieces like “Taxi” (2015 Golden Bear) via iPhone footage.
His tenacity shows. In 2022, while questioning his colleague Mohammad Rasoulof, who was detained in Evin, Panahi landed himself in jail—reviving the dusty 2010 sentence. A hunger strike freed him after seven months, leading to “It Was Just an Accident.” The Cannes jury praised its “sharp look at revenge and suspicion,” unaware that the new sentence reflected his themes. Gotham’s triple win—perhaps for Best Feature—is generating Oscar buzz amid its U.S. theatrical release.
Panahi represents Iran’s creative opposition. Fellow directors like Asghar Farhadi (Oscar for “A Separation”) and Abbas Kiarostami paved the way for him, a path he courageously treads. In an exclusive interview in 2025, after his hunger strike, he told The Guardian, “Every film deserves consequences.” Selling his house to pay bail didn’t stop him; underground crews risk arrest for his vision.
The Charges: Propaganda or Principled Filmmaking?
Tehran’s label of “propaganda against the system” is a catch-all for those critical of the government. Nili’s post details the trial in absentia—Panahi is abroad for an award—which also includes a ban on membership in political and social groups. The grounds for the appeal? Legal limitations on the old case, shortcomings in the process. Previous attempts failed: the 2010 verdict was upheld in 2011 despite Spielberg-Scorsese appeals.
The timing suggests a need for revenge. “It Was Just an Accident” by Mahsa Amini (2022’s “Woman, Life, Freedom”) alleges prison brutality following the protests. Blindfolded depicts the real Evin’s horrors; Victims of Torture depicts the Revolutionary Court’s purges. According to an Amnesty International log of Panahi’s story, Iranian intelligence considers such art an existential threat.
Organizations around the world condemn it: PEN America and Human Rights Watch denounce “judicial harassment.” EU Parliament resolutions demand release; U.S. filmmakers rally. Yet Tehran continues to imprison creatives, with a crackdown set for 2025.
“It Was Just an Accident”: From Secret Shoot to Cannes Glory
Shot guerrilla-style in Tehran, this revenge thriller begins with former prisoners debating the fate of a man—their blindfolds arousing suspicion. Panahi weaves together the prisoners’ stories: shared cells, slowly unfolding accounts of trauma. A French producer’s oversight ensured the film’s escape from post-production; its Cannes premiere in May 2025 was a surprise.
Critics praised: Variety called it “Panahi’s rawest film since ‘No Bears,'” and warned that America’s polarization mirrors Iran’s. Box office buzz after Gotham; Oscar shortlist threat. According to an IndieWire source, Panahi dedicated his win to “those left behind.”
The irony is: “Absentee Sentence” ended mid-U.S. tour. Returning threatened immediate arrest; deportation meant abandoning one’s roots. Previously, forced smuggling was prohibited; Now, freedom is tempting.
Broader Iranian Cinema Under Siege
Panahi’s fate reflects Tehran’s war on art. Rasoulof fled after his arrest in 2024; Nasrin Basiri is awaiting trial. Female directors like Panah Panahi (Jafar’s son) evade censorship. The troubles of underground “mokhberat” (informants) grow; Oscars are denied amid bans.
Yet cinema is thriving without fear: the 2025 Berlin Festival showcased brilliantly smuggled works. Out-of-town talents like Maryam Keshavarz have found their voices. International festivals have become platforms—Venice and Cannes have become shields.
Global Reactions and What’s Next
Hollywood speaks out: Scorsese tweeted in support; A24 is eyeing a U.S. distro. The Biden administration issued a condemnation through the State Department; UN reporters are investigating. Iran’s response? As per the pattern, a stone wall.
An appeal is unlikely—courts are siding with the government. Panahi, abroad, is contemplating exile versus bravery. Gotham’s silence reveals a strategy: let the film speak.
For filmmakers/developers: Panahi inspires courage in indie films. React Docs takes on censorship; Tailwind Sites hosts a virtual festival. His story: art outlives dictators.
Iran’s punishment is intended to silence; instead, it only amplifies it. As Panahi collects trophies, the shadow of Tehran looms—a true plot twist of defense cinema.
Click Here to subscribe to our newsletters and get the latest updates directly to your inbox