Iran Summons French Diplomat Over Praise of Palme d’Or-Winning Film 

Director Jafar Panahi, Palme d'Or award winner for the film "Un simple accident" (It Was Just an Accident), poses during a photocall after the closing ceremony of the 78th Cannes Film Festival in Cannes, France, May 24, 2025. (Reuters)
Director Jafar Panahi, Palme d'Or award winner for the film "Un simple accident" (It Was Just an Accident), poses during a photocall after the closing ceremony of the 78th Cannes Film Festival in Cannes, France, May 24, 2025. (Reuters)
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Iran Summons French Diplomat Over Praise of Palme d’Or-Winning Film 

Director Jafar Panahi, Palme d'Or award winner for the film "Un simple accident" (It Was Just an Accident), poses during a photocall after the closing ceremony of the 78th Cannes Film Festival in Cannes, France, May 24, 2025. (Reuters)
Director Jafar Panahi, Palme d'Or award winner for the film "Un simple accident" (It Was Just an Accident), poses during a photocall after the closing ceremony of the 78th Cannes Film Festival in Cannes, France, May 24, 2025. (Reuters)

Iran has summoned France's representative in protest after the French foreign minister praised a prize-winning Iranian film as “a gesture of resistance against the Iranian regime's oppression.”

Foreign Minister Jean-Noel Barrot had praised “It Was Just an Accident” after it won the prestigious Palme d’Or award at the Cannes Film Festival. The Iranian film centers on a man who abducts his suspected captor after being tortured in prison.

Iran’s Foreign Ministry said the French charge d’affaires was summoned over the minister’s “interventionist, irresponsible and instigative allegations,” the state-run IRNA news agency reported.

“Spare us Iranians the lectures. You have no moral authority whatsoever,” Iran’s Foreign Minister Abbas Araghchi said on “X,” citing France's approach to Israel's ongoing war in Gaza.

France last week threatened “concrete action” against Israel if the country didn't halt the offensive in Gaza and lift restrictions on humanitarian aid, but the statement was mostly dismissed as empty threats.

Immediately following the award's announcement, the Iranian state news agency had announced a more muted celebration of the award, crediting the country’s film industry for winning a second Palme d’Or after Abbas Kiarostami’s 1997 drama, “Taste of Cherry.”

In Iran, film productions need to receive script approval from the government to shoot in public. Dissident filmmaker Jafar Panahi refuses to do that, knowing they won’t allow him to make the films he wants to, and “It Was Just an Accident” was filmed without cooperation.

Iranian state TV called the film a mixture of “lie and smearing” as well as an “underground” film produced without required permits in Iran.

State TV also chastised Panahi for not mentioning the plight of the Palestinians in his acceptance speech.

The film follows a man named Vahid, played by Vahid Mobasser, who believes he sees his former captor, who tortured him in prison and ruined his life. He abducts him, takes him to the desert and begins to bury him in the ground.

But to satisfy pangs of doubt, Vahid decides to confirm his suspicion by bringing the man, locked in his van, to other former prisoners for identification. In a strange and emotional journey, they are all forced to grapple with revenge and forgiveness. Panahi drew on the experiences from his own imprisonment, as well as the stories of detainees around him.

Other state media were more critical of the win. The Mizan news agency, an arm of the country’s judiciary, reported on the win as part of the “Political Cannes Film Festival,” suggesting that the prize was given to Panahi because of his political leanings.

Pro-reform media outlets and activists praised Panahi. “This victory is no accident — it is the result of a tireless dedication to exploring humanistic values and human rights,” said Nobel Peace Prize laureate Narges Mohammadi, who was also previously imprisoned at Tehran’s notorious Evin Prison. Inmates at the prison include those with Western ties and political prisoners.

Panahi, one of the leading international directors, was banned from traveling out of Iran in 2009 for attending the funeral of a student killed in anti-government protests, a judgment later extended to two decades.

But even when placed under house arrest, Panahi kept making movies, many of which are among the most lauded of the century. He made 2011’s “This Is Not a Film” on an iPhone in his living room. “Taxi” (2015) was clandestinely shot almost entirely within a car.

Panahi was arrested in 2022 when he went to the Tehran prosecutor’s office to inquire about the arrests of two other Iranian filmmakers. A judge later ruled that he must serve six years for an earlier sentence on charges of propagandizing against the government from 2011 that had never been enforced. In early 2023, Panahi went on a hunger strike and was released from Evin Prison.

Panahi said he would not seek asylum in another country, despite the risks of additional imprisonment.

“It’s simple. I’m unable to live here,” he said last week from the Cannes festival. “I have no ability to adapt to a new country, a new culture. Some people have this ability, this strength. I don’t.”

On Monday, Panahi landed in Tehran to cheers and applause from fans.



‘How to Train Your Dragon’ Tops the US Box Office

This image released by Universal Pictures shows Mason Thames, as Hiccup, riding Night Fury dragon, Toothless in a scene from "How to Train Your Dragon", (Universal Pictures via AP)
This image released by Universal Pictures shows Mason Thames, as Hiccup, riding Night Fury dragon, Toothless in a scene from "How to Train Your Dragon", (Universal Pictures via AP)
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‘How to Train Your Dragon’ Tops the US Box Office

This image released by Universal Pictures shows Mason Thames, as Hiccup, riding Night Fury dragon, Toothless in a scene from "How to Train Your Dragon", (Universal Pictures via AP)
This image released by Universal Pictures shows Mason Thames, as Hiccup, riding Night Fury dragon, Toothless in a scene from "How to Train Your Dragon", (Universal Pictures via AP)

Neither Pixar nor zombies were enough to topple “How to Train Your Dragon" from the No. 1 slot at North American box offices over the weekend. The Universal Pictures live-action remake remained the top film, bringing in $37 million in ticket sales in its second weekend, despite the sizeable new releases of “Elio” and “28 Years Later” , according to studio estimates Sunday. “How To Train Your Dragon” has rapidly amassed $358.2 million worldwide, The Associated Press reported.

Six years after its last entry, the Dean DeBlois-directed “How To Train Your Dragon” has proven a potent revival of the DreamWorks Animation franchise. A sequel is already in the works for the $150 million production, which remakes the 2010 animated tale about a Viking boy and his dragon.

Pixar's “Elio” had a particularly tough weekend. The Walt Disney Co. animation studio has often launched some of its biggest titles in June, including “Cars,” “WALL-E” and “Toy Story 4.” But “Elio,” a science fiction adventure about a boy who dreams of meeting aliens, notched a modest $21 million, the lowest opening ever for Pixar.

“This is a weak opening for a new Pixar movie,” said David A. Gross, who runs the movie consulting firm FranchiseRe. “These would be solid numbers for another original animation film, but this is Pixar, and by Pixar’s remarkable standard, the opening is well below average.”

“Elio,” originally set for release in early 2024, had a bumpy road to the screen. Adrian Molina — co-director of “Coco” — was replaced mid-production by Domee Shi (“Turning Red”) and Madeline Sharafian. Back at Disney’s D23 conference in 2022, America Ferrera appeared to announce her role as Elio’s mother, but the character doesn’t even exist in the revamped film.

Disney and Pixar spent at least $150 million making “Elio,” which didn’t fare any better internationally than it did in North America, bringing in just $14 million from 43 territories. Pixar stumbled coming out of the pandemic before stabilizing performance with 2023’s “Elemental” ($496.4 million worldwide) and 2024’s “Inside Out 2” ($1.7 billion), which was the company's biggest box office hit.

“Elemental” was Pixar's previously lowest earning film, launching with $29.6 million. It rallied in later weeks to collect nearly half a billion dollars at the box office. The company's first movie, “Toy Story,” opened with $29.1 million in 1995, or $60 when adjusted for inflation. It remains to be seen whether “Elio's” decent reviews and “A” from CinemaScore audiences can lead it to repeat “Elemental's” trajectory.

With most schools on summer break, the competition for family audiences was stiff. Disney’s own “Lilo & Stitch,” another live-action remake, continued to pull in young moviegoers. It grossed $9.7 million in its fifth weekend, bringing its global tally to $910.3 million.

“28 Years Later” signaled the return of another, far gorier franchise. Director Danny Boyle reunited with screenwriter Alex Garland to resume their pandemic apocalypse thriller 25 years after “28 Days Later” and 18 years after its sequel, “28 Weeks Later.”

The Sony Pictures release opened with $30 million. That was good enough to give Boyle, the filmmaker of “Slumdog Millionaire” and “Trainspotting,” the biggest opening weekend of his career. The film, which cost $60 million to make, jumps ahead nearly three decades from the outbreak of the so-called rage virus for a coming-of-age story about a 12-year-old (Alfie Williams) venturing out of his family’s protected village. Aaron Taylor-Johnson, Jodie Comer and Ralph Fiennes co-star.

Reviews have been good (90% fresh on Rotten Tomatoes) for “28 Years Later,” though audience reaction (a “B” CinemaScore) is mixed. Boyle has more plans for the zombie franchise, which will next see the release of “28 Years Later: The Bone Temple” next year from director Nia DaCosta.

“28 Years Later” added another $30 million in 59 overseas markets.

After its strong start last weekend with $12 million, A24’s “Materialists” held well with $5.8 million in its second weekend. The romantic drama by writer-director Celine Song and starring Dakota Johnson, Pedro Pascal and Chris Evans has collected $24 million so far.

Next weekend should also be a competitive one in movie theaters, with both “F1,” from Apple and Warner Bros., and Universal’s “Megan 2.0” launching in cinemas.