Scorsese & Panahi Discuss Iranian CinemaS Future Amidst Censorship adn Exile
A compelling conversation between cinematic giants Martin Scorsese and Jafar Panahi at the New York Film Festival on Friday underscored the resilience of iranian filmmaking despite decades of political repression and a growing exodus of it’s leading talents. The discussion, initially threatened by visa issues, centered on Panahi’s career, his latest film “It Was Just an Accident,” and the evolving landscape of cinema in his homeland.
Panahi’s newest work marks his frist feature as a several-month incarceration in 2023 stemming from criticism of the Iranian government. As has become increasingly common for the filmmaker, “It Was Just an Accident” was shot in secret, drawing inspiration from his own experiences within the Iranian prison system.
During the hour-long discussion, Scorsese posed a critical question to Panahi: what does the future hold for Iranian cinema, given the departures and exiles of prominent filmmakers like Bahman Ghobadi and Mohammad Rasoulof?
Panahi, speaking through a translator, reflected on a long history of artistic displacement. “After the revolution, these waves of migration, forced migration almost, started as unwanted exile,” he explained. “Many of the actors and directors who were at the height of their careers were forced to leave Iran… All the backbones of Iranian filmmaking are out. I really miss all those films that they could have made in Iran and that they didn’t.” He acknowledged the adaptability of some filmmakers who remained, while emphasizing his own inability to leave the country.
According to a recent profile by Anne Thompson, Panahi has endured 15 years of imprisonment, interrogation, house arrest, and a 20-year ban on filmmaking. Despite these challenges, Panahi remains steadfast in his commitment to Iran. “I don’t have the courage and I don’t have the ability to leave Iran and stay out of Iran,” he stated firmly. “I have stayed there and I am going to work there.”
However,Panahi expressed optimism about a new generation of Iranian filmmakers. “There are a lot of young filmmakers who are coming and who are making the best films of Iranian cinema in the same style that we are making films,” he said. “And they are not going to except censorship whatsoever.And it has become so common that even within the film circles in iran, everyone is talking about taking these people seriously, people making films clandestinely.” He also noted the hope that exiled filmmakers, like Rasoulof, might one day find a path to return and contribute to the nation’s artistic landscape.
Scorsese, a vocal advocate for global cinema, stressed the importance of international support for these emerging voices. “This has to be supported by the international distribution [world],” he asserted. “streaming platforms,film festivals,et cetera,these films have to be supported that way,for us to see them.” He critiqued the current practices of some streaming services, suggesting they have “a lot of room” but often prioritize quantity over quality. “There’s no reason why a Criterion, a Mubi, an Amazon, all of that couldn’t show these films,” he added.
Scorsese drew a parallel to the Italian neorealist movement following World War II, arguing that cinema possesses a unique power to restore hope and identity. “Cinema can be very powerful, everybody can see that,” he said. “So it’s really getting to see these films. It’s not just putting them on something, and putting them up on, what are they called? Tiles? You have to kind of curate them, so you know where you’re going, you know what you’re looking at.”
The discussion concluded with a warm embrace between Scorsese and Panahi, followed by a standing ovation from the audience. Neon will release “It Was Just an Accident” in theaters in New York and Los Angeles on Wednesday, October 15, with a national rollout planned thereafter.
