IT WAS JUST AN ACCIDENT NOTES ON…
restricted locations and scenes that required speed and mobility – without complex rigs or a large crew. The film includes numerous scenes inside a van, and in some of them, we didn’t use any kind of stabilisation system. The small size of the KOMODO made it possible to place the camera in different parts of the vehicle without relying on time-consuming or elaborate mounts (essential, given the limited space, tight schedule and paramount need for discretion). In terms of lighting, the KOMODO’s sensor sensitivity – combined with careful scene design – allowed us to capture many sequences using available light or minimal enhancement, while maintaining the natural feel of each environment. For lenses, we wanted glass that balances spatial depth and emotional proximity, allowing the audience to experience the story in an honest and unfiltered way, without exaggeration in scale or compression. Camera movement was also kept minimal used either for specific dramatic reasons or choreographed to blend with the actors’ rhythm and the tone of the scene. Given that the film was made without official permits and under unstable conditions, every technical decision had to be weighed for both aesthetics and practicality. Many of the conventional tools used in professional cinematography – like dollies, cranes, big lighting set-ups and large crews – were not only inaccessible, but could also be dangerous. We strongly believed that getting the film made was more important than anything else – and if the use of certain equipment could have put the project at risk, then it was out. From the outset, our approach was to ensure that no element of the production process would draw attention or cause the project to be halted or exposed. These constraints didn’t lead to visual poverty; ON AVOIDING TOOLS OR TECHNIQUES THAT COULD JEOPARDISE EVERYTHING
THE CAMERA KEEPS ITS distance, limits movement or eliminates it ENTIRELY”
ON MATCHING VISUAL TONE WITH NARRATIVE RHYTHM
The visual tone is reflected by the emotional rhythm of the story itself. The narrative unfolds at a human, irregular tempo: at times slow and uncertain, at others dense and filled with tension. This ebb and flow found direct expression in the film’s visual language. In moments when the characters are caught in hesitation, silence or uncertainty, the camera deliberately refrains from interference. It keeps its distance, limits movement or eliminates it entirely allowing space and time to speak for themselves. One example of this approach is a sequence where the camera holds a long shot from a fixed
position, tracking Hamid gently with a back-and-forth pan, without dominating him or pulling away. This relative stillness enhances the internal tension and reveals the scene’s underlying rhythm. By contrast, in critical moments – like the interrogator’s confession – when conflict or decision-making reaches a peak, the camera moves closer, the framing tightens and movement is minimised or fully eliminated. The editing adjusts to the narrative pace, never racing ahead or exaggerating the characters’ emotional states. The goal was for the image to act as silent narrator, resonating with the story’s pulse.
QUIET ON SET! What might look minimal on screen was, in fact, the result of high- stakes precision
instead, they became a source of creativity and precision. The camera had to be part of the space – not something external to it. Lighting had to be invisible. Camera movement had to feel natural and in sync with the rhythm of the scene. This conscious avoidance of high-risk tools and techniques ultimately led to the development of a visual language that not only matched the story but was fully in tune with the production context – a language
that, in its simplicity, conveyed the complexity of the characters’ inner worlds. Naturally, these decisions – whether made during early planning or on-set execution – were either directly initiated by Jafar Panahi or carried out in consultation with and under his final approval. In truth, this kind of guerrilla-style, resource-limited filmmaking would have been impossible without complete alignment between the director and cinematographer.
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DEFINITIONMAGS
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