Cert - 12

Run-time - 1 hour 44 minutes

Director - Jafar Panahi

A group of former prisoners believe they've kidnapped the man who tortured them whilst imprisoned, but is it the right person and what should they do with him?

For those, like myself, who have only seen Jafar Panahi's post-house arrest work, defying a filmmaking ban from the Iranian government on multiple occasions, the farcical tone of his latest, It Was Just An Accident; itself made in secret without government passes and approval whilst Panahi faces further bans and imprisonment, may come as something of a surprise.

Each character grows increasingly frantic as they question whether the man they've kidnapped is actually the man who tortured them whilst in prison. As the contained ensemble grows. pulled together from scattered locations, the more moral questions grow as to what the characters are doing as part of their possible revenge.

Yet, amongst the patches of humour from the ordered chaos of the narrative, there's a clear overhanging threat to what pans out. Both in regards to the consequences that could be faced and the moral questions raised by the film and its characters.

It brings a consistency to the various stages as mechanic Vahid (Vahid Mobasseri), the man who first sees the suspected Eghbal (Ebrahim Azizi), travels to those who will also be wanting revenge and proof. Almost all quick to respond, some almost dangerously so.

The different meanings and perspectives of the title come through not long after the set-up. After driving at night and hitting a dog in the road Eghbal takes his car to be fixed by Vahid. From here the kidnapping takes place with an attempt to bury the unconscious driver in the open desert. Accidents as genuine mistakes, excuses and meaningless phrases are integral to the workings of Panahi's film. His delve into these themes brings out his more recognisable markings.

The writer-director keeps as much intense focus on this as his camera; steadily and observantly following each interaction and development. Subtly looked at in the dialogue which constructs the often crammed-in conversations. Whether through not wanting to be heard - rushing out of a wedding photo session proves to be particularly amusing - or squashed into the back of a van, with the body in a box acting as a seat.

The phrase "you killed me a hundred times, have you forgotten?" echoes long after its asked. Panahi and his camera are quietly analytical of the characters and the things they say, do and try to hide. It's clear that some are doing a better job of holding back than others. As if some are just looking for an excuse to let out their long-held-in pain and rage in whatever way gives a good enough reasoning. It all makes for an intriguing, unexpectedly farcical, drama that has plenty of substance in its detailed examination of moral questions.

Four stars