Jafar Panahi, a prominent Iranian filmmaker whose works have faced a consistent ban in his home country, is set to have the Australian premiere of his latest film, "It Was Just an Accident," at the Sydney Film Festival this week.

Panahi, known for his subversive storytelling, has faced imprisonment and accusations of "propaganda against the regime" from Iranian authorities, resulting in limited access to his audience in Iran.

Since 2010, Panahi has been imprisoned twice for his filmmaking.

Despite these challenges, he continues to create, often operating outside of the government's regulations on cinema.

The new film reflects his personal experiences during his detention, particularly his time in solitary confinement at Tehran's Evin prison, where he was forced into isolation and interrogated without knowing his captor's identity.

In interviews, Panahi has described the psychological toll of solitary confinement, where he was often blindfolded and left to discern his interrogator's voice.

He drew from these harrowing experiences to frame the narrative of "It Was Just an Accident," which follows a group of former political prisoners who encounter a man they believe to be their torturer.

The film explores their moral quandary of choosing between mercy and vengeance.

While the film contains elements from Panahi's own life, he emphasizes that it is not purely autobiographical but includes tales from friends who endured similar fates in prison.

Panahi’s first foray into exploring themes of imprisonment began with his film "The Circle" in 2000, examining the plight of women fleeing the oppressive regime in Iran.

Panahi's filmmaking journey has been marked by innovation born from restriction.

After receiving a 20-year filmmaking ban in 2010, he shifted towards clandestine works.

Films like "This is Not a Film," which he smuggled out of Iran in a cake, and "Taxi," shot through a disguised camera in a car, showcase his resourcefulness as a director.

His recent arrest in July 2022, alongside a hunger strike for the treatment of prisoners, has also deeply influenced his work.

Upon its debut at the Cannes Film Festival in May, "It Was Just an Accident" was awarded the Palme d'Or, marking a significant recognition for Panahi, who had not traveled outside Iran for 14 years prior to the ceremony.

His acceptance of the award was marked by an emotional moment, reflecting on the hope kindled among fellow inmates who had reached out to him.

The film is set to screen at the Sydney Film Festival from June 13 to 15 and is accompanied by a retrospective of Panahi's previous works titled Cinema in Rebellion.

Notably, his attendance at the festival was a carefully planned event for his safety.

Throughout his career, many Iranian artists have turned to underground filmmaking as a means to continue their craft amid oppressive conditions, and Panahi stands as a stalwart figure in this struggle.

He has expressed a deep-rooted connection to Iran, stating that he cannot envision living elsewhere.

His commitment to his homeland persists, even in the face of governmental opposition.

Following his win at Cannes, Iranian officials formally condemned both Panahi and the French government, questioning the political implications of his film’s recognition.

As he prepares to share his latest work with an international audience, Panahi remains an emblematic voice of resistance against censorship, striving to bring stories of resilience and humanity to light despite considerable risks.