“It Was Just an Accident” follows a man who bumps into who he believes to be his former torturer. He, and others, must debate what to do with him as doubts start to creep in.

“It Was Just an Accident” is a simply constructed masterpiece. There are no drastic time jumps. No flashbacks. Because of this, it is able to tell a story that will likely impact many.

Trauma Without Spectacle

The early stages of “It Was Just an Accident” are slow-moving. The stakes are clear, but the film purposefully waits to reveal its full influence. Over time, however, it becomes obvious that the movie isn’t intending to shock. Sure, there are moments. But its ultimate goal is to explore the trauma and suffering that these characters have endured.

Each moment that passes unravels a new layer to their lifelong confinement – both physically and mentally. And it’s not through visuals. Instead, the characters’ experiences are beautifully explored through dialogue and conversation.

Political Feat of Filmmaking

“It Was Just an Accident” is no accident. It’s direct. And it has a lot to say. Anti-authoritarian in every way, the film is the most political of the year – even if its views shouldn’t be all that controversial.

This statement is made all the more impactful by knowing that director Jafar Panahi made the movie in secret while banned from filmmaking in Iran.

Amidst it all, “It Was Just an Accident” still pauses to show the good that these characters have within them. Despite all they’ve endured, they preserve love. There’s power inside several small, seemingly inconsequential moments that the film chooses to include.

Despite serving a purpose, some of these minuscule sequences cause the film to drag. Specifically around the midway point, “It Was Just an Accident” begins to meander… but only for a second.

Silence, Restraint and Lasting Impact

The film utilizes silence to its advantage. There’s no score. Instead, the audience constantly hears the ambiance of the outside world: dogs barking, birds chirping, motorcycles revving, wind blowing and more.

While many movies would feel the absence of a musical backdrop, “It Was Just an Accident” does not. This choice only heightens the reality of the film, and all of the difficult decisions the characters have to make within it.

The same can be said about the cinematography. “It Was Just an Accident” takes a natural approach in its visuals as well. The camerawork and editing are simplistic but effective. Some of the movie’s most memorable moments come in the dark, lit up by the rear lights of a car.

This red lighting proves to be striking and iconic in the film’s powerful conclusion.

“It Was Just an Accident” makes a statement throughout its entire 103-minute runtime. But its ending is the boldest. Aspects are ambiguous while others are not. But one thing is certain – the trauma of political repression never fades.

“You killed me a hundred times. Forget? I am a living dead.”

This line has lingered in my mind since the end of “It Was Just an Accident.” As the credits begin to roll, these words ring even more profound.

In some ways, the film’s messaging is simple. A battle of good versus evil. The lines between are obviously more complex, however. Compassion and empathy are at the heart of “It Was Just an Accident,” amidst all of the suffering within.

All of the performers deserve applause, but Vahid Mobasseri (Vahid), Mariam Afshari (Shiva) and Mohamad Ali Elyasmehr (Hamid) all excel.

These three actors showcase a complete range, instantly shifting from anxious to rageful to despair. The characters themselves feel real because of their authentic performances.

Bold. “It Was Just an Accident” is the true definition of the word itself. Filmed in secret and unapologetically political from beginning to end, it’s a statement piece from Panahi. One that shouldn’t be overlooked.

Rating: 4.5 out of 5