Golden Apricot Opens in Yerevan with Emotional Reunion of Iranian Cinema Legends

The 22nd Golden Apricot Yerevan International Film Festival opened not with a typical red carpet spectacle, but with tears, standing ovations, and an unforgettable cinematic reunion. The emotional heart of the opening night belonged to two legendary Iranian filmmakers — Jafar Panahi and Amir Naderi — who embraced for the first time in decades in a small, packed cinema hall in downtown Yerevan. The Armenian Report’s Ani Khachatryan was there to cover the opening night.

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The evening was originally set to begin with the Armenian premiere of Panahi’s latest film, "It Was Just an Accident," which recently won the prestigious Palme d'Or at Cannes. But moments before the screening, Panahi, who had been discreetly seated in the audience, surprised the room by stepping on stage.

What followed was a powerful moment of tribute and solidarity. Panahi, an internationally acclaimed director who has spent over 14 years in and out of detention in Iran for his bold, critical cinema, took the stage to honor his compatriot Amir Naderi — a pioneer of Iranian New Wave cinema and one of the festival’s special guests. Naderi, who was forced to leave Iran because of his artistic work, was presented with the Parajanov’s Thaler Award — one of Golden Apricot’s highest honors.

“Ladies and gentlemen,” Panahi said with emotion, “some people don’t just make films, they pave roads. They are giant trees with deep roots, giving space for others to grow beside them. I’ve always dreamed of standing next to this great man. He taught me so much. He’s the only one who truly taught me that no obstacle can stop you from making your film. Tonight, I want to pay tribute to the great master of Iranian cinema — Amir Naderi.”

Visibly moved, Naderi responded:

“Mr. Panahi… I don’t know what to say, you’ve completely overwhelmed me tonight. This award means a lot to me, especially because one of my favorite directors in the world is Parajanov. I dedicate this prize to the young filmmakers of my country. I hope they, too, can open new paths to the future, just like Mr. Panahi.”

Naderi, who is widely credited as one of the founding voices of modern Iranian cinema, also shared a message for young creators during a separate interview with Azatutyun (Liberty):

“Listen to your heart. If you have something to say, listen again. Show your truth, your experience — what you truly believe in. The camera is smart. It detects lies instantly. I want young people to listen to their hearts. They’ll be the ones to change the world of cinema.”

The acclaimed filmmaker, whose works often center on solitary individuals who never give up their fight, noted the emotional resonance he felt in Armenia:

“I’ve been here for a few days now and I adore these people — calm, gentle, and full of grace. I believe Armenian cinema is on the brink of a great rise.”

Festival Artistic Director Karen Avetisyan acknowledged that this year’s event was organized under significant strain, during rising regional instability — especially the recent escalation in Iran-Israel tensions. But rather than shy away, the festival leaned into the reality.

“We wanted the festival to reflect what’s happening in the world,” Avetisyan said. “Not through escapism or entertainment, but through films that speak directly to our shared reality — sometimes painful, vulnerable, and complex. That’s reflected not only in our film program but also in the presence of guests like Panahi and Naderi.”

The decision to amplify voices from politically and culturally turbulent regions was a conscious one, Avetisyan emphasized — turning Golden Apricot into a platform not just for cinema, but for truth-telling and connection across borders.

The emotional power of Panahi’s tribute resonated even more deeply given his personal history — a life marked by persecution, courage, and defiant creativity.

Panahi’s clashes with authoritarianism began as early as April 2001, when he was detained at JFK International Airport in New York while en route to a film festival in Buenos Aires. Refusing to be fingerprinted or photographed like a criminal, he was handcuffed and eventually deported.

His troubles continued in Iran. In 2003, he was arrested and interrogated by Iran’s Information Ministry. In 2009, he was detained again while attending a memorial for Neda Agha-Soltan, the young woman who became a symbol of the Green Movement after being killed during protests. Later that year, while serving as jury president at the Montreal World Film Festival, he convinced the jury to wear green scarves in solidarity with the protestors.

In March 2010, Panahi was arrested again along with his family and friends. While most were released after 48 hours, Panahi remained imprisoned for months in Tehran’s notorious Evin Prison. He was denied medical care and subjected to harsh conditions. After international outcry, he was released on bail, only to be sentenced in December 2010 to six years in prison and a 20-year ban from filmmaking, writing, interviews, or leaving Iran.

Despite the ban, Panahi continued to make films in secret, often using minimal resources and smuggling his work out of the country. His courage earned widespread support. Hollywood directors such as Martin Scorsese, Steven Spielberg, and Paul Thomas Anderson, as well as critics and human rights organizations, publicly defended him.

In 2012, the European Parliament awarded Panahi the Sakharov Prize for Freedom of Thought. In 2022, he was arrested again — this time while following up on the cases of fellow imprisoned filmmakers. He went on hunger strike in 2023 and was released 48 hours later.

His latest film "It Was Just an Accident" which premiered at Cannes and now arrives in Yerevan, is a testament to his resilience — and a reminder that artistic truth can never be fully silenced.

By inviting Panahi and Naderi to center stage, the Golden Apricot Festival has once again positioned itself as more than just a film event. It has become a space where artistic freedom, exile, memory, and resistance converge.

With dozens of screenings, retrospectives, and masterclasses planned through July 20, the festival promises to be a rich and politically resonant experience. For Armenians — whose own history has long been shaped by forced silence and cultural survival — the presence of Panahi and Naderi is not just symbolic. It is personal.

Golden Apricot 2025 opened not with glamour, but with truth — raw, powerful, and deeply human. As Panahi and Naderi stood together under the lights of a Yerevan cinema, it was clear: in a world where repression still thrives, cinema remains a force of memory, defiance, and hope.

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