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Home»News»Global Free Speech»Jafar Panahi’s 2025 thriller It Was Just an Accident. Photo: Handout “We are worried about what is going to happen. Every morning, we wake up to the sound of explosions. Many places have been destroyed, and I know that some civilians have been killed as well. However, the Islamic Republic does not give us any accurate information, and the domestic news agencies are only propaganda centres for the regime. Because of this, we truly don’t know what is really happening or what awaits us.” These are the words of an Iranian dissident who has managed to contact us from inside the country after Israel and the USA started bombing Iran. They are too concerned for their safety to be named. Iran’s internet has been blocked for days now. There are reports of people protesting from their homes being shot at. The UN has warned that imprisoned Iranian protesters face “expedited” executions. There are fears about conditions deteriorating in Evin prison where a lot of political opponents of the regime are being held. Nobel Peace Prize winner Narges Mohammadi is currently in a jail in Zanjan, a city northwest of Tehran, and her situation is unknown. It is impossible to know exactly what is happening. In war the truth only comes out later – if at all – and disinformation is king. What is worrying is that there is such uncertainty about the outcome, and concern now that the USA and Israel don’t much care about the freedom of the people of Iran. Tens of thousands who bravely came out on the streets earlier this year to protest the regime were brutally murdered, many more arrested. Most shockingly, verified accounts have documented how the Revolutionary Guard swarmed hospitals, prevented medical care, took people off ventilators. Some doctors have even reported that wounded protesters who were being treated were later found with bullet holes in their heads. On Monday Index screened Jafar Panahi’s new film It was Just an Accident in advance of it coming out on Mubi this Friday, 6 March. It is a must-see if you want to understand the varying points of view of ordinary people in Iran. One of the people who talked on our panel discussion after the screening, Tara Aghdashloo, an Iranian writer, director and poet, wrote on Instagram of the current dilemma of those watching what is happening from afar: “Whoever we blame – this moment is overwhelming. There is pain, hoping for something good out of it, more pain, terror, remembering the mass murders by the regime yet fearing what these missiles and bombs could do to family and friends and innocent people, to our environment, infrastructure, our historic sites. Elation, even daring to hope that this fascist dictatorship might be gone once and for all. But remembering that the safety of my people is now in the hands of the same leaders, and that we’re expected to bet that our liberation is in a series of missiles that is shaking the city.” To be an Iranian dissident must be profoundly lonely and confusing. The autocratic ayatollah has been killed. But there is no succession plan for democracy. At Index we have always stood up for the people who want Iran to be finally free, for the women and young people, for the rappers, poets, artists and writers and all those who have put have themselves again and again in the firing line for the right to express their full selves without fear of torture and death. READ MORE
Global Free Speech

Jafar Panahi’s 2025 thriller It Was Just an Accident. Photo: Handout “We are worried about what is going to happen. Every morning, we wake up to the sound of explosions. Many places have been destroyed, and I know that some civilians have been killed as well. However, the Islamic Republic does not give us any accurate information, and the domestic news agencies are only propaganda centres for the regime. Because of this, we truly don’t know what is really happening or what awaits us.” These are the words of an Iranian dissident who has managed to contact us from inside the country after Israel and the USA started bombing Iran. They are too concerned for their safety to be named. Iran’s internet has been blocked for days now. There are reports of people protesting from their homes being shot at. The UN has warned that imprisoned Iranian protesters face “expedited” executions. There are fears about conditions deteriorating in Evin prison where a lot of political opponents of the regime are being held. Nobel Peace Prize winner Narges Mohammadi is currently in a jail in Zanjan, a city northwest of Tehran, and her situation is unknown. It is impossible to know exactly what is happening. In war the truth only comes out later – if at all – and disinformation is king. What is worrying is that there is such uncertainty about the outcome, and concern now that the USA and Israel don’t much care about the freedom of the people of Iran. Tens of thousands who bravely came out on the streets earlier this year to protest the regime were brutally murdered, many more arrested. Most shockingly, verified accounts have documented how the Revolutionary Guard swarmed hospitals, prevented medical care, took people off ventilators. Some doctors have even reported that wounded protesters who were being treated were later found with bullet holes in their heads. On Monday Index screened Jafar Panahi’s new film It was Just an Accident in advance of it coming out on Mubi this Friday, 6 March. It is a must-see if you want to understand the varying points of view of ordinary people in Iran. One of the people who talked on our panel discussion after the screening, Tara Aghdashloo, an Iranian writer, director and poet, wrote on Instagram of the current dilemma of those watching what is happening from afar: “Whoever we blame – this moment is overwhelming. There is pain, hoping for something good out of it, more pain, terror, remembering the mass murders by the regime yet fearing what these missiles and bombs could do to family and friends and innocent people, to our environment, infrastructure, our historic sites. Elation, even daring to hope that this fascist dictatorship might be gone once and for all. But remembering that the safety of my people is now in the hands of the same leaders, and that we’re expected to bet that our liberation is in a series of missiles that is shaking the city.” To be an Iranian dissident must be profoundly lonely and confusing. The autocratic ayatollah has been killed. But there is no succession plan for democracy. At Index we have always stood up for the people who want Iran to be finally free, for the women and young people, for the rappers, poets, artists and writers and all those who have put have themselves again and again in the firing line for the right to express their full selves without fear of torture and death. READ MORE

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Jafar Panahi’s 2025 thriller It Was Just an Accident. Photo: Handout

				
				
				
				
				“We are worried about what is going to happen. Every morning, we wake up to the sound of explosions. Many places have been destroyed, and I know that some civilians have been killed as well. However, the Islamic Republic does not give us any accurate information, and the domestic news agencies are only propaganda centres for the regime. Because of this, we truly don’t know what is really happening or what awaits us.”
These are the words of an Iranian dissident who has managed to contact us from inside the country after Israel and the USA started bombing Iran. They are too concerned for their safety to be named.
Iran’s internet has been blocked for days now. There are reports of people protesting from their homes being shot at. The UN has warned that imprisoned Iranian protesters face “expedited” executions. There are fears about conditions deteriorating in Evin prison where a lot of political opponents of the regime are being held. Nobel Peace Prize winner Narges Mohammadi is currently in a jail in Zanjan, a city northwest of Tehran, and her situation is unknown.
It is impossible to know exactly what is happening. In war the truth only comes out later – if at all – and disinformation is king. What is worrying is that there is such uncertainty about the outcome, and concern now that the USA and Israel don’t much care about the freedom of the people of Iran.
Tens of thousands who bravely came out on the streets earlier this year to protest the regime were brutally murdered, many more arrested. Most shockingly, verified accounts have documented how the Revolutionary Guard swarmed hospitals, prevented medical care, took people off ventilators. Some doctors have even reported that wounded protesters who were being treated were later found with bullet holes in their heads.
On Monday Index screened Jafar Panahi’s new film It was Just an Accident in advance of it coming out on Mubi this Friday, 6 March. It is a must-see if you want to understand the varying points of view of ordinary people in Iran. One of the people who talked on our panel discussion after the screening, Tara Aghdashloo, an Iranian writer, director and poet, wrote on Instagram of the current dilemma of those watching what is happening from afar: “Whoever we blame – this moment is overwhelming. There is pain, hoping for something good out of it, more pain, terror, remembering the mass murders by the regime yet fearing what these missiles and bombs could do to family and friends and innocent people, to our environment, infrastructure, our historic sites. Elation, even daring to hope that this fascist dictatorship might be gone once and for all. But remembering that the safety of my people is now in the hands of the same leaders, and that we’re expected to bet that our liberation is in a series of missiles that is shaking the city.”
To be an Iranian dissident must be profoundly lonely and confusing. The autocratic ayatollah has been killed. But there is no succession plan for democracy. At Index we have always stood up for the people who want Iran to be finally free, for the women and young people, for the rappers, poets, artists and writers and all those who have put have themselves again and again in the firing line for the right to express their full selves without fear of torture and death.

			
			
					
				
				
				
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“We are worried about what is going to happen. Every morning, we wake up to the sound of explosions. Many places have been destroyed, and I know that some civilians have been killed as well. However, the Islamic Republic does not give us any accurate information, and the domestic news agencies are only propaganda centres for the regime. Because of this, we truly don’t know what is really happening or what awaits us.”

These are the words of an Iranian dissident who has managed to contact us from inside the country after Israel and the USA started bombing Iran. They are too concerned for their safety to be named.

Iran’s internet has been blocked for days now. There are reports of people protesting from their homes being shot at. The UN has warned that imprisoned Iranian protesters face “expedited” executions. There are fears about conditions deteriorating in Evin prison where a lot of political opponents of the regime are being held. Nobel Peace Prize winner Narges Mohammadi is currently in a jail in Zanjan, a city northwest of Tehran, and her situation is unknown.

It is impossible to know exactly what is happening. In war the truth only comes out later – if at all – and disinformation is king. What is worrying is that there is such uncertainty about the outcome, and concern now that the USA and Israel don’t much care about the freedom of the people of Iran.

Tens of thousands who bravely came out on the streets earlier this year to protest the regime were brutally murdered, many more arrested. Most shockingly, verified accounts have documented how the Revolutionary Guard swarmed hospitals, prevented medical care, took people off ventilators. Some doctors have even reported that wounded protesters who were being treated were later found with bullet holes in their heads.

On Monday Index screened Jafar Panahi’s new film It was Just an Accident in advance of it coming out on Mubi this Friday, 6 March. It is a must-see if you want to understand the varying points of view of ordinary people in Iran. One of the people who talked on our panel discussion after the screening, Tara Aghdashloo, an Iranian writer, director and poet, wrote on Instagram of the current dilemma of those watching what is happening from afar: “Whoever we blame – this moment is overwhelming. There is pain, hoping for something good out of it, more pain, terror, remembering the mass murders by the regime yet fearing what these missiles and bombs could do to family and friends and innocent people, to our environment, infrastructure, our historic sites. Elation, even daring to hope that this fascist dictatorship might be gone once and for all. But remembering that the safety of my people is now in the hands of the same leaders, and that we’re expected to bet that our liberation is in a series of missiles that is shaking the city.”

To be an Iranian dissident must be profoundly lonely and confusing. The autocratic ayatollah has been killed. But there is no succession plan for democracy. At Index we have always stood up for the people who want Iran to be finally free, for the women and young people, for the rappers, poets, artists and writers and all those who have put have themselves again and again in the firing line for the right to express their full selves without fear of torture and death.



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The BBC clearly sees the value of television series That Mitchell and Webb Look. Marking the 20th anniversary of its original screening, the Beeb has re-released the series on iPlayer. But – and there is very often a “but” with these things – they’ve removed around 11 sketches from the BAFTA award-winning show. The official word is that these sketches don’t “work today”, which is polite speak for “they may cause offence”. The episodes singled out include scenes featuring a battle reenactment with characters in blackface, a contestant on a show wearing a burka and a lost tribe” in a garden centre. These sketches set out to challenge stereotypes, not to reinforce them; but 20 years on, this distinction seems to have been lost along the way. I’m a bit uncomfortable about this. I find it infantilising, to say the least. Can’t we trust audiences to make up their own minds, to switch off if they find the sketches in question unpalatable? Does the BBC think that we are just passive consumers, unable to disaggregate the mocking of racism from racism itself? These sketches set out to challenge stereotypes, not to reinforce them This act of censorship is distorting – of the shows, whose narratives and rhythms were built to include these sketches, and more broadly too. Conversations we were having 20 years ago have been erased, as if to suggest that they never happened. But they did! And with this erasure, the opportunity for thoughtful engagement and learning from our past is gone. “Let’s just pretend we were all lovely 20 years ago. It’s better that way” seems to be the message. Speaking as a minority myself, I find that knowing the nasty stuff that people said before – and indeed, still say today – is much more useful than pretending it never happened. This approach, I think, is also inconsistent. What it reveals is a cherry-picking (intended or not) of the groups that we can mock, and those that we can’t. Let’s face it, gender stereotypes are rarely deemed to have aged beyond the pale – if that were the case, we would have to wave goodbye to half the television made before the mid-2010s. Suppression like this sends a bad message to artists, namely that what they’re creating today may hold less value tomorrow. Or, even worse, that future audiences may deem them bigots – that Sword of Damocles hovering over the heads of any creative paying attention to the discourse of the moment. Suppression like this sends a bad message to artists The BBC’s decision reaffirms a broader trend. In 2020, Little Britain was removed from the iPlayer platform for similar reasons. It has since been reinstated – minus some sketches. Meanwhile, the UK’s arts space more broadly is seeing a retreat to the land of “safe”, as Index recently revealed in a year-long investigation into self-censorship in UK theatre. The BBC, it must be said, does remarkable stuff. The ongoing podcast investigation into the disappearance of US journalist Austin Tice is just one example. But this does not mean, however, that they don’t sometimes get it wrong. Chopping at That Mitchell and Webb Look is one example. Sure, the removal of the material isn’t the life-or-death story that Index often works on. Sure, Mitchell and Webb aren’t the faces of persecuted artists – they have huge platforms and agreed to the changes themselves. Still, one can’t help but think that the decision came from a place of conservatism, perhaps even fear. This is weak and dispiriting, indeed the very opposite of what enables creativity in the arts. We shouldn’t be encouraging this cultural timidity. Rather, we should harness culture and creativity as the starting points of a conversation about our here and now. That’s what the arts are for, after all. READ MORE

5 days ago
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