IT WAS JUST AN ACCIDENT

That's all due to the extraordinary work of Jafar Panahi. As the film's writer and director, it's another remarkable addition in a long list of credits for the filmmaker - 'No Bears', '3 Faces', 'Taxi', 'This Is Not a Film'. Panahi made this, and many of his films, illegally in Iran; he's been arrested and imprisoned on numerous occasions for "propaganda against the regime". He's spoken about how his time in solitary confinement and treatment by a faceless interrogator led to his creation of 'It Was Just An Accident'.. That makes the story all the more powerful, as the audience is asked two questions: is there a way to safely ensure this is the man behind the atrocities the victims were subjected to, and if it can be proven, does he deserve retribution? The film sees characters offering all perspectives for the latter, and sometimes changing their minds as time goes on. Despite the moral and ethical rationalisation, in a country where he would receive no punishment through legal courts, it's hard not to empathise with those who want to take justice into their own hands.

When the act of simply making a film is enough to get you arrested, it must become a clandestine affair. Without the ability to secure official permits, it meant the filmmaking was considerably more guerrilla-style, with a cast and crew of no more than a handful. However, that doesn't mean the final result is unpolished. Panahi and cinematographer Amin Jafari ('No Bears', 'Summer with Hope') have used this disadvantage to create a specific observational style of camerawork, with a peculiar static framing and long shots somewhat akin to Wes Anderson's work. Whenever in public, the van acts both as their mode of transport and physical shelter; the camera is typically located inside the vehicle. This works surprisingly well, bringing the audience along as a bystander in the film.

There are other acts of defiance. The storyline itself places our band of rebels on the side of "good" and Iran's judicial system on that of "bad", in itself forbidden by authorities censoring freedom of expression. In response to its Cannes screening, Iran's Foreign Ministry representative Esmaeil Baqaei responded, "We believe that artistic events and art in general should not be exploited to pursue political objectives." Many - myself included - would argue that's what some of the world's greatest art is about. Panahi prefers to see his films as "social" rather than political. As such, he's equally keen to show Iranian women as resilient and "courageous". Two female victims of Eghbal's torture (Mariam Afshari & Hadis Pakbaten) in the film are therefore the most powerful characters of the group. Even though it has been compulsory by law for women to wear a hijab since the 1979 Iranian revolution, punishable through fines and lashes, these women proudly choose to uncover themselves on camera.

Although the women are standout characters, they fit perfectly into the group dynamic. As this band of misfits accumulates along the way, we uncover history and learn more about why we're here on this ride. Although none of the actors are particularly experienced in their craft, the competence on display would convince you otherwise. The ensemble cast members bounce expertly off each other, understanding how to progress through this organised chaos. Much of the film's joy comes from watching the interaction between this core group, rationalising what's fair, what's right, what's best. Each person perfectly balances the gravitas and playfulness required to pull off this delicate venture.

For those who may have lost faith in cinema, 'It Was Just An Accident' is proof that it's still alive and well. In fact, it's altogether necessary. It's not a story from years gone by - these remorseless acts are happening right now, and they impact every one of us, even if only in the most basic ways (take a look at how oil prices are tracking if you don't believe me). That Jafar Panahi can create something with such craftsmanship and power while completely undercover is a reflection of his brilliance, heroism, and obligation to the people of Iran. To be empassioned, to question, to experience this life for just 101 minutes is a fleeting yet valuable reminder that we are all the same.