Issue link: https://digital.copcomm.com/i/1543164
38 C I N E M O N T A G E F E A T U R E By Ivan Victor A n editor's job is usually invisible — collaborating with the director to shape performances and build the tension and emotion of a story. But for "It Was Just An Accident," the editor didn't just cut the film — he carried it, and that's no metaphor. As Iran's author- ities hunted down an illegal production, editor Amir Etminan hid the entire movie on his Mac laptop, knowing that discovery could mean prison, or worse. Every creative decision unfolded under the threat of sur- veillance and disappearance. Director Jafar Panahi had already been arrested and detained by the Iranian gov- ernment for creative activities unapproved by the state. Yet he continued to make challenging political films, shot without government approval, in a clandestine manner. "It Was Just an Accident" tells the story of former political prisoners who wrestle with questions of justice and revenge in present-day Iran. Etminan chose to continue his collab- oration with Panahi and edit this movie both as an artistic project and an act of resistance. Etminan edited the film during production in Tehran, and then after a stressful journey, returned to Istanbul where he was able to complete the final cut, alone, with no assistant, using Adobe Premiere. The film went on to win the Palme d'Or at the 2025 Cannes Film Festival and has been nominated for Best International Feature Film at the 2026 Oscars. COURAGE & CONVICTION NEITHER POLICE INTERROGATION NOR TECH LIMITATIONS COULD STOP THE EDITOR OF THE OSCAR-NOMINATED IRANIAN FILM 'IT WAS JUST AN ACCIDENT' CineMontage usually interviews mem- bers of the Editors Guild, which Etminan is not. However this is a story that will resonate with all editors as an example of being dedicated to one's craft to see a film across the finish line, under extraordinary challenges, and at risk to one's life. CineMontage: Given the risks involved, why did you decide to work on this film? E t m i n a n : M y d e c i s i o n t o w o r k o n this film was not merely about accepting danger; it was about joining a struggle for freedom and democracy. In a world where cinema is often seen either as a means o f e n te r ta i n m e n t o r a s a re f l e c t i o n o f ideas, we chose a different path: a cinema of resistance. For me, cinema is both a vehicle for artistic expression and a weapon against the tyranny that rules Iran. Jafar Panahi is not only a great artist but also a courageous fighter. Joining his team felt like joining a collective act of resistance. I carry a deep pain in my heart caused by the oppressive system that has devastated my country — a regime that has wasted both its human and material wealth in ser- vice of a senseless ideology. Countless lives, in Iran and beyond, have been scarred by this ideology, especially the brave women of my homeland. Wo r k i n g w i t h P a n a h i 's t e a m w a s , therefore, both a historic opportunity and a moral act of defiance — my way of standing on the side of truth and freedom. CineMontage: Can you tell us what your days were like during production? After Mr. Panahi invited me to join the team, I drove from Istanbul, Turkey to Tehran with my own car. I stayed in a house that belonged to one of Mr. Panahi's friends. I turned one room into my editing space and another into my resting place. Every morning, the makeup artist and actors arrived at the house discreetly, observing strict security measures. We all drove together to the shooting loca- tion — the address of which was sent the night before through a secure message. My car served multiple purposes: it was the DIT workstation, wardrobe, makeup station, and even a carrier for small props. Whenever a memory card was full, I would take it to my car, transfer the footage to SSD drives using a small MacBook Air, and Amir Etminan.