Iran International
Warnings of unrest are growing louder in Iran, with the hardline daily Kayhan the latest to raise the alarm—pointedly avoiding Tehran’s governance failures and instead pinning potential protests on Washington and its alleged scheming.
Warnings of unrest are growing louder in Iran, with the hardline daily Kayhan the latest to raise the alarm—pointedly avoiding Tehran’s governance failures and instead pinning potential protests on Washington and its alleged scheming.
“All evidence suggests that, contrary to its public posture, America is not genuinely focused on Iran’s nuclear issue or enrichment levels,” wrote Kayhan editor Hossein Shariatmadari, who is appointed by Supreme Leader Ali Khamenei.
“From America’s perspective, the final destination of the negotiations is inciting sedition and creating unrest inside the country,” Shariatmadari said, suggesting that Washington aims to drag out the talks until protests erupt.
The tone is notable. While Kayhan routinely blames foreign actors for domestic troubles, its explicit anticipation of unrest places it—at least on the outcome—in rare alignment with more moderate voices warning of a volatile summer.
“Chaos is imminent,” former vice president Eshaq Jahangiri told the reformist daily Arman Melli on Monday, “not just because of sanctions, but because public trust in the state has collapsed.”
Jahangiri blamed successive governments for failing to implement the 20-year development plan launched in 2005 to position Iran as the region’s leading economic and technological power.
“Not a single administration has carried out the vision set in the five-year strategies,” he said. “Iran was once on par with Saudi Arabia and Turkey… now we lag behind them—and behind smaller Persian Gulf states.”
Such warnings have intensified in recent weeks, as Iran’s energy crisis deepens. The country faces a 25-gigawatt electricity shortfall this summer, according to the influential economic daily Donya-ye Eqtesad, which on Monday warned of a looming “socio-economic explosion.”
The paper—typically technocratic in tone—now says the power shortage has escalated from a solvable issue to a full-blown national crisis.
In recent days, poultry farmers, bakers, and produce vendors have voiced their frustration in interviews with foreign-based Persian media. Meanwhile, truck drivers in over a hundred towns and cities continue their strike despite a police crackdown and arrests.
Touching on the broader climate of discontent, Jahangiri warned that the Islamic Republic’s social capital has been steadily eroding for two decades.
“This level of regression will not be easily remedied,” he concluded.
The award for his film It Was Just an Accident, hailed as a milestone for Iranian cinema and a symbolic victory for freedom of expression, also sparked harsh criticism from pro-government media in Iran.
Panahi, a former political prisoner banned from travel and filmmaking for over a decade, received a standing ovation at the award ceremony.
The Palme d'Or was presented by acclaimed actress Cate Blanchett on Saturday night. In his acceptance speech, Panahi struck a unifying tone, calling on Iranians inside and outside the country to "set aside our differences" and work collectively toward democracy, dignity and human rights.
“Let no one tell us what to wear, what to do or what films to make,” he said, drawing repeated applause from the audience.
The moment was described by French Foreign Minister Jean-Noël Barrot as a "symbolic act of resistance" against repression. “Jafar Panahi’s Palme d’Or revives hope for freedom fighters around the world,” Barrot wrote on X.
A national and global moment
The win drew emotional reactions from across Iranian political and artistic figures at home and abroad.
Nobel Peace Laureate Narges Mohammadi, writing from inside Iran, described Panahi as a “brave and distinguished director” whose recognition was the result of years of relentless effort to deepen human and civil values through art.
Prince Reza Pahlavi, the exiled heir to Iran’s former monarchy, congratulated Panahi and called the award a “great honor for Iran.” He expressed hope that Iranian filmmakers could one day work “without censorship or restriction” in their homeland.
Iranian activist Hamed Esmaeilion called Panahi a “true hero,” praising his resilience in the face of censorship and repression. “His courage inspires all who fight for justice and freedom,” he said.
Political prisoner Mehdi Mahmoudian, speaking from Tehran’s Evin Prison, said the award was “not just a cinematic honor, but a victory of truth over censorship.”
Iranian-British actress Nazanin Boniadi also praised Panahi’s speech, calling him a “unifying voice” at a time when Iranians are searching for solidarity and vision.
The wave of celebration was echoed by 135 civil, political, and cultural activists, who issued a joint statement lauding Panahi as a symbol of artistic integrity and human rights advocacy.
The statement said that Panahi had joined a rare class of filmmakers alongside legends like Michelangelo Antonioni and Robert Altman—to win all three major European film prizes: the Golden Bear (Berlin), Golden Lion (Venice), and now the Palme d’Or (Cannes).
Film made in defiance
It Was Just an Accident, a political thriller, was shot clandestinely in Iran without government authorization and in open defiance of mandatory hijab laws.
The film’s production and Panahi’s public defiance of censorship laws have drawn admiration from international film communities and rights groups.
The Cannes jury also awarded Panahi the Festival’s Citizenship Prize, recognizing his broader contributions to freedom of expression.
An increasing number of Iranian filmmakers are defying the country's strict ideological censorship by making movies without seeking the Culture Ministry's permission for screening abroad.
Last year, prominent Iranian filmmaker Asghar Farhadi said he will not produce any films in Iran until the ban on showing women without headscarves is lifted, as people demand.
Official backlash in Tehran
Inside Iran, however, the award was met with either silence or anger from state-linked outlets.
The conservative daily Farhikhtegan, affiliated with Islamic Azad University, dismissed the honor with the headline: “Palme d’Or Turns to Rust”.
The editorial accused European film festivals of orientalist bias and suggested that Panahi’s acclaim was driven by political motives rather than artistic merit.
The Student News Agency (SNN) went further, branding Panahi a “middleman” and “Iran-seller.” It called the ceremony a “political show” orchestrated by “PR marketers.”
Despite the criticism, Panahi’s victory has reignited conversations around freedom of expression, artistic resistance, and national unity among Iranians worldwide.
As he left the stage in Cannes, Panahi expressed a simple hope: “I dream of an Iran where artists are not silenced, where truth has no borders, and where no one lives in fear for telling a story.”
