Controversial Iranian director Jafar Panahi's debut at Cannes post a prolonged filmmaking ban is a stark political drama titled 'It Was Just an Accident'. This film, unlike his previous works, presents a straightforward narrative spanning 24 hours, detailing the haunting horrors endured by political dissidents under the Iranian regime.

In this intriguing thriller, Panahi unfolds a tale of revenge and survival, revolving around a common man, Eghbal, who gets entangled in a vengeful scheme. Following an accident, Eghbal mistakenly murders a dog and ends up dismantling his car. Seeking help in a nearby warehouse, he captures the attention of Vahid, a warehouse worker who ends up stalking him home. Vahid recognizes Eghbal as the intelligence officer who tortured him during his prison years. Consequently, Vahid plots a sinister scheme to abduct and bury Eghbal alive.

The narrative further spins a tale of resilience and survival when Vahid's van fills with other past victims, all seeking revenge against their torturer. The plot twists with a rising suspense as the victims embark on a quest for definitive proof of Eghbal's identity.

Panahi's film moves beyond the surface narrative to delve into the depth of autocratic exploitation and its severe implications on individuals and society. The story juggles between heart-wrenching accounts of the victims and humorous instances, prompting a contemplation on the morality of their revenge scheme. Through his movie, Panahi instigates questions on the justification of their revenge and hints at a haunting takeaway; the evil remains, whether buried or alive.

Following a string of films shot behind closed doors, 'It Was Just an Accident' marks a return to form for Panahi, once again showcasing his talent in portraying intricate narratives and human intricacies.