The impulse for revenge is clearly a destructive force, capable of pushing people toward actions so terrible they mirror the initial wrongs done to them. This naturally leads one to question whether such a path is acceptable or justified. Furthermore, regardless of how much we might desire retribution, can we truly go through with it, particularly if we fully understand the profound impact those harmful acts had on us? These are the difficult questions posed by this latest film from acclaimed Iranian writer-director Jafar Panahi, which demonstrates how a seemingly small incident can escalate into a complex web of problems that become increasingly hard to manage. What begins as a minor traffic accident involving Eghbal (Ebrahim Azizi), a young husband and father, quickly develops into a dangerous situation when he’s spotted by Vahid (Vahid Mobasseri), an Azerbaijani dissident who believes Eghbal is an Iranian government intelligence officer responsible for his torture while imprisoned. But is that actually the case? Vahid isn't certain, yet he seizes the opportunity to kidnap the suspected agent and threatens to bury him alive as revenge. As Vahid digs the grave, however, the captive pleads with him, insisting he’s innocent. Because of his doubts, Vahid releases Eghbal but keeps him hostage while attempting to confirm his identity. This triggers a series of risky and surprisingly humorous events involving other former radicals (Mariam Afshari, Hadis Pakbatan, Mohamad Ali Elyasmehr), all struggling to determine if the suspect is who Vahid claims he is. Throughout this increasingly bizarre situation, further complications arise, causing Vahid and his companions to question whether they can proceed with their plan. Having experienced severe state-sponsored mistreatment allegedly at the hands of their captive, they ponder whether it’s right for them to inflict similar atrocities upon him. Their compassion and sense of humanity gradually surface, increasing their reluctance. They also consider what would happen if Eghbal's claims of innocence are proven true. The filmmaker skillfully explores both sides of these questions, successfully blending intense drama, moments of genuine fear, and well-executed comedic episodes. Despite these strengths, the story occasionally gets bogged down in lengthy dialogue scenes (particularly during the extended final section), which is perhaps understandable given Panahi’s history of censorship, harassment, and arrest by Iranian authorities. Considering the challenging viewpoints expressed within this film, it's remarkable that it was even made. Nevertheless, his efforts have been justly recognized with prestigious awards, including the Palme d’Or at this year’s Cannes Film Festival, the event’s highest honor. Ironically, much of what has unfolded in Iran over the past 75 years feels similar to the metaphor driving this story—a continuous cycle of unfortunate events where the stakes keep rising. Yet, beyond those parallels, while the film's themes and title seem appropriate, dismissing real-world occurrences as “just an accident” falls far short of explaining what has actually transpired in Iran. Perhaps it takes a disturbing fable like this to help us recognize what can happen when we allow our instincts to control us—and to understand that some things we might attribute to mere accidents are, ultimately, something else entirely.

Source on TMDB