experience

In Jafar Panahi’s acclaimed thriller “It Was Just an Accident,” it’s a distinct sound that alerts Vahid (Vahid Mobasseri), a mechanic, that the man who tortured him in prison might be dangerously close.

After hearing it, he embarks on a rage-fueled mission to kidnap and kill the interrogator. But Vahid is not certain he has the right man, so he enlists a group of other victims to help identify him. What ensues is a brilliantly taut ensemble piece.

The latest from the Iranian master earned the Palme d’Or at the Cannes Film Festival and is now a major contender this awards season, representing France at the Oscars in the international feature category. Iran would not submit the politically charged film.

“Because the auditory sense of prisoners is usually strongest above all the other senses, I thought that I would begin the film with a sound,” a stoic Panahi says via an interpreter in a hotel room in Santa Monica. “In prison, you keep trying to guess if this voice that you hear belongs to an older person, a younger person, what he looks like and what he does in life.”

A scene from “It Was Just an Accident.”

(Neon)

Panahi is no stranger to being deprived of his freedom. Arrested in 2022 for his outspokenness against the regime’s practices, he spent seven months in prison. It wasn’t until he went on a hunger strike that his right to legal representation was granted.

Without an attorney present, Panahi explains, interrogators blindfold detainees and stand behind them, either asking questions directly or writing them on a piece of paper and handing it to the detained, who lifts their blindfold just enough to read it. An interrogation nearly identical to that description plays out in last year’s Oscar-nominated film “The Seed of the Sacred Fig” by Mohammad Rasoulof, one of Panahi’s longtime collaborators.

“I had not actually seen Rasoulof’s film because when we make films clandestinely, we don’t talk about them, even with our close friends,” he explains. “I didn’t even know what his film was about. Only when I got to France to mix [‘It Was Just an Accident’], and Rasoulof’s film was out in theaters there, that’s when I saw it.”

Making films on the outskirts of legality under an authoritarian regime entails high-stakes discretion. The script for “It Was Just an Accident” never left Panahi’s sight when casting.

“To all of the actors, I gave the script in my own apartment,” he recalls. “I told them, ‘Read it here, don’t take it with you. Go and think about it for 24 hours, and then tell me whether you want to be a part of it.’” Everyone in the stellar cast, composed of dissident artists with varying degrees of experience in front of the camera, was aware of the risks it entailed.

Jafar Panahi.

(Kate Dockeray / For The Times)

Mobasseri had appeared in Panahi’s previous effort, “No Bears,” while Majid Panahi, who plays a groom swept up in the scheme by his vengeful bride, is the director’s nephew. Mariam Afshari, as a photographer who also joins the plot, had minimal acting experience, but had been involved in other productions in below-the-line roles. Panahi says he casts actors based on how their physical traits resemble the character he has in mind.

That was the case with the tall and lean Ebrahim Azizi, who appears as Eghbal, the man the group believes was their ruthless captor. For a scene near the end where Eghbal breaks down, thinking he’s about to be killed, Panahi placed his trust in Azizi — who only acts in underground films, not state-approved projects — to convey the tempestuous humanity of a presumed villain.

“I felt a huge burden on my shoulders when I left prison that made me feel I owed something to my fellow prisoners who were left behind,” Panahi says. “I said this to Ebrahim Azizi, ‘Now the entire burden of this film is on your shoulders with your acting, and you have to put that burden down with utmost commitment.’”

The first time Panahi shot that searing scene, he sensed it wasn’t coming together. After all, his only experience with real-life interrogators was from the receiving end of their questioning. “I went to one of my friends, Mehdi Mahmoudian, who has spent one-fourth of his life in prison,” he says. “I told him, ‘Because you know these personality types very well, come and tell this actor what to do.’ He guided [Azizi] and we took two or three more takes and it was done.”

Amid the hard-hitting moral drama of “It Was Just an Accident,” moments that warrant a chuckle for their realistic absurdity might surprise some viewers. However, a touch of sardonic levity has always been part of Panahi’s storytelling.

“Humor just flows through life. You cannot stop it,” he says.

To make his point, Panahi recalls a morbid memory from when he was around 10 years old. One of his friends had lost his father. Disturbed, the boy threatened to take his own life. Panahi and his other friends followed him to try to stop him if he did in fact attempt to hurt himself.

Determined, the boy announced he would stand in the middle of the road and throw himself in front of a large vehicle. “We were lucky because we were in a very isolated part of town and there were no real big cars passing by,” he says. “Two hours later we were all sitting in a movie theater. Humor is always there. It’s not really in my hands.”

If you asked Los Alamitos basketball coach Nate Berger to be honest about early expectations for a team that returned zero starters, he would have said a 1-9 start wouldn’t have been surprising.

But the Griffins, loaded with backups from last season and members of a good junior varsity team, are 8-6 going into an early Sunset League showdown with 16-1 Corona del Mar on Monday.

Tyler Lopez has been leading the way. The senior committed to Jessup University in Northern California is averaging 17 points and eight rebounds. Sophomore Isaiah Williamson, younger brother of former Eastvale Roosevelt standout Issac Williamson, has been making major contributions.

Berger has been pleased with his players’ growing experience and confidence after some early season struggles adjusting.

“I was pleasantly surprised how my team responded and some of these young players have jelled,” he said.

This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com.

Dec. 30 (Asia Today) — More than half of German respondents said they would recommend unification of the Korean Peninsula, drawing on their own country’s experience with reunification, according to a new international survey released Tuesday.

The findings came from the 2025 Global Unification Awareness Survey conducted by the Institute for Unification Studies, which polled 1,000 respondents in each of eight countries.

Among German respondents, 62.2% answered positively when asked whether they would recommend Korean unification based on Germany’s reunification experience. Of those, 17.9% said they “strongly agree,” while 44.3% said they “somewhat agree.”

When asked about the necessity of Korean unification, 55.4% of Germans responded positively. However, only 29.9% said they believe inter-Korean unification is realistically possible, highlighting a significant gap between perceived necessity and feasibility.

A similar pattern appeared in the United States, where 55.6% viewed unification as necessary but only 27.2% believed it was achievable. In Japan, just 29.3% said unification was necessary, and only 13.4% viewed it as possible.

The institute said the results show a consistent divide between recognition of unification’s importance and skepticism about its prospects. It noted that Germany, as a country that has already experienced national reunification, showed a higher perception of necessity than other surveyed nations.

Regarding Japan’s particularly low assessment of the need for Korean unification, the institute said the view appears to stem from a belief that unification would not benefit Japan. It added that, because support from neighboring countries is essential, Seoul should strengthen public diplomacy efforts aimed at improving Japanese perceptions.

On perceptions of North Korea’s nuclear program, Japanese respondents expressed the highest level of concern. A total of 81.5% of Japanese respondents said North Korea’s nuclear weapons pose a serious threat to peace, followed by Americans at 72.9% and Mongolians at 66.5%.

The institute said countries directly affected by North Korea’s nuclear issue – including Japan, the United States and Mongolia – tend to show heightened threat awareness.

Asked about Pyongyang’s motives for developing nuclear weapons, respondents most commonly viewed them as intended for offensive purposes. That perception was strongest in Japan at 71.8%, followed by the United States at 70.9% and Sweden at 70.2%. Excluding Mongolia, only about 20% to 30% of respondents in most countries viewed North Korea’s nuclear program as primarily defensive.

On preferred approaches to denuclearization, 74.6% across all eight countries favored diplomatic negotiations. Support for economic measures such as sanctions stood at 67.7%, while 48.2% supported military options.

The survey also examined national images of the two Koreas. South Korea was generally viewed as a country associated with trust and cooperation, while North Korea was widely perceived as a source of threat and distrust. Japan, however, showed low levels of trust toward both Koreas.

The annual survey was conducted online from Aug. 11 to 18 in Germany, Mongolia, the United States, Sweden, Italy, Japan, Canada and Poland.

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

HAVE you ever wanted to feel like you are drifting in space? Well, you can at a new planetarium coming to the UK with cheap tickets.

A new planetarium attraction will be popping up across the UK throughout 2026.

The planetarium will initially pop-up in London, before travelling to Sheffield, Hull, Manchester and then finally, Northampton.

The first destination where the Planetarium Go! experience will take place is at Battersea Power Station in South London, between January 30 and March 1.

It will then head to Sheffield from March 6 to 28, then Hull between April 3 and 25, then Manchester from May 1 to 23 and Northampton between May 29 and June 21 – though specific destinations have not been revealed yet.

Inside, the planetarium will feature a 360-degree screen which will show different films either science-related or of fictional stories and each will last between 20 to 35 minutes.

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And of course, some visitors will be able to travel through space.

The experience itself will be in a large, spherical pop-up dome and different film showings will be suitable for different age groups.

For example, you could opt to watch ‘Exploring The Solar System + The Ring World’, a film that takes visitors on an exploration of the solar system, seeing Venus, Mars and the moon.

Viewers will the head to ‘The Ring World’ to see a star and find out whether humans could live on other planets.

For younger kids, ‘3-2-1 Lift Off’ might be better; visitors follow Alan the hamster scientist, who discovers a robot that has crashed from outer space.

There is also ‘From Earth to the Universe’, a documentary film lasting 30 minutes that is more of an educational option for kids aged over 10-years-old.

The planetarium will be open at Battersea Power Station Monday to Thursday and Sunday between 10am and 7:10pm and on Friday and Saturdays between 10am and 9pm.

Tickets cost from £15 per person or £12 for students and children under four go free.

If heading to the planetarium whilst it is at Battersea Power Station, there are a number of other attractions there to explore as well, so you can make it a day out.

Until January 4, visitors can head to the Jurassic World: The Experience at Neon at Battersea Power Station.

Inside the experience visitors can explore 10 immersive zones across two floors.

You can walk under a giant Brachiosaurus, look around the genetics lab and even meet Blue the Velociraptor from the Jurassic World films.

The experience costs £36.70 per adult and £29.55 per child.

Alternatively, there is the Lift 109 experience, which recently had a refresh.

Visitors can travel 109 metres up a chimney that makes you feel as if you are in Charlie and the Chocolate Factory.

The lift then appears out of the top of the chimney and boasts panoramic views of London.

There is also a small museum experience with a number of interactive features ideal for families, including a touchscreen quiz table.

Tickets cost from £16 per person when booked online, or £24 on the day.

In other attraction news, here’s everything you can do at one of London’s most popular attractions before it closes ahead of £240million renovation.

Plus, the 20 most-visited attractions in England that are completely free to enter.

The Ford Mustang was built in Detroit, introduced to the world in New York and, according to a new exhibit on the border of downtown and Boyle Heights, romanticized by Los Angeles.

Part advertisement, part history lesson and part playground, “American Icon: A Mustang Immersive Experience” uses theme park-inspired trappings to celebrate a work of mechanical artistry. The car — first introduced in 1964 at the New York World’s Fair as a sporty, compact coup with just a little bit of an edge — is given a hero’s treatment. Inside the warehouse-like Ace Mission Studios, “American Icon” tracks the Mustang’s evolution from the suburban garage to the race track, and uses projections and a 4D theater experience to transform what could have been a showroom experience into something built more for a video game.

With installations focused on the fabled, traffic-free, open road “freedom” that car manufacturers like to so often tout, there’s something quaintly old fashioned here. The Mustang is presented as a car for young couples on the go, optimistically envisioning an America when home and car ownership were a given.

Visitors watch an immersive 4D short film.

(Ronaldo Bolanos/Los Angeles Times)

The seats inside a 4D theater vibrate and feature water and scent effects.

(Ronaldo Bolanos / Los Angeles Times)

In that sense, it’s a car enthusiast’s fantasy. But can it inspire a new generation of car dreamers, especially at a time when some data indicates younger audiences may be holding off on a car purchase?

While no cars are for sale at “American Icon” — there is an assortment of specially branded Mustang merch, however, much of it nostalgically focused on 1964 — such an immersive endeavor makes sense, says researcher Jason Jordhamo, a marketing director for Polk Automotive Solutions from S&P Global Mobility. Enticing audiences today, he says, involves a more personal touch than a big TV ad spend or a sponsorship deal.

“It’s less time in the dealership,” Jordhamo says of reaching younger consumers, especially Gen Z. “Those traditional things have to be let go of.”

Jordhamo notes that new vehicle registration among those aged 18-34 has dipped about 2% in recent years. Anecdotally, he cites a multitude of factors, ranging from growing environmental consciousness — hybrids and electric vehicles are big with the age bracket — to the ease of rideshare, especially in major cities.

But there are other causes for concern. “There’s a lot of things that are challenging in that space,” Jordhamo says. “One is affordability, which is huge. The cost for purchasing a vehicle — the monthly costs — have gone up 30% since the beginning of this decade. And the average loan payment nationally has been over $750 all calendar year.”

With the “Pick Your Pony” interactive feature, guests can listen to different Mustang engine sounds.

(Ronaldo Bolanos / Los Angeles Times)

Immersive experiences, which typically denote either some level of participation on the part of the guest or attempt to envelope the attendee in all-encompassing imagery, are common in Hollywood and often seen as a way of reaching a younger consumer weaned on interactive entertainment. They’ve been utilized heavily by studios such as Netflix for pop-ups themed to “Arcane,” “Squid Game” and more, but brands and personalities as varied as the Catholic Church, McDonald’s and even Mariah Carey have gotten in on the experiential action. Car companies, too, have dabbled, be it partnering with video game franchises such as “Gran Turismo” or “Rocket League” or, as Ford already does, offering real-life experiences such as off-roading in a Bronco at various U.S. locales.

“It’s more than just steel and rubber,” says Ford’s communications director Mike Levine when asked why Mustang was pegged for such an experience. “Mustang’s impact on America should be appreciated like an art exhibit.”

Seated before a crisply, powdered blue 1965 Mustang on a turntable, the exhibit’s first major room comes alive to simulate movement as the surrounding four walls use projections to place us on idealized versions of Venice Beach and Route 66. The glimmering rhythm of Martha and the Vandellas’ “Nowhere to Run” sets the tone as visions of cruise culture innocence aim to make us feel as if we’re on a ride through Southern California. All that’s missing to complete the mood is someone to deliver us a milkshake.

Several generations of Mustangs are projected behind a real vehicle.

(Ronaldo Bolanos / Los Angeles Times)

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Levine says Los Angeles rather than Detroit was chosen as the first of a planned many stops for “American Icon” in part due to the city’s iconography, pointing to historic drives such as Pacific Coast and Angeles Crest highways as scenic backdrops for our car-focused culture. While experiential marketing is all the buzz in recent years, Levine says this is the first installation of its kind for Ford.

“So far, so good,” said Enzo Sanchez, 22, when asked on a recent weekday if he was enjoying “American Icon,” which culminates in a 4D theater experience that serves as a mini motion simulator. Expect to get splashed with a drop of water as the smell of burning rubber fills the room. The mini film — about five minutes — has Mustang drivers saving a post-apocalyptic world from a rogue AI. “Terminator,” but if Mustangs came to the rescue.

Sanchez, named after famed racer and entrepreneur Enzo Ferrari, comes from a car enthusiast family. His father pointed to a wall dedicated to appearances of the Mustang in popular culture, and singled out a framed portrait of Johnny Mathis’ LP “Those Were the Days,” which features the automobile, and said he would have to track down a copy.

“It just transports you,” Sanchez says of his love of the Mustang, adding that he first became aware of “American Icon” on a recent trip to mid-Wilshire’s Petersen Automotive Museum, which helped curate the exhibition. Sanchez noticed one of its famed 1967 Mustangs, the so-called “Eleanor” from “Gone in 60 Seconds,” was absent, and when Sanchez inquired as to its whereabouts, he was told that it would be popping up at “American Icon.” The vehicle shares space with Mustangs from “The Mary Tyler Moore Show,” “Kick-Ass” and “Transformers” at the exhibition.

The Mustang, says Ford’s Levine, has been among the most popular movie vehicles, adding that “Gone in 60 Seconds” showcases the car as much as it does the city of Los Angeles. He, too, has seen the headlines that proclaim Gen Z is shifting away from car ownership. For now, he says, he isn’t concerned.

“I heard the same thing about millennials, who weren’t going to buy cars,” he says. “As a parent of two Gen Z children, they love cars. Their friends have cars. They want something they can enjoy.”

A rotating platform and video projections make a Ford Mustang look like it’s driving on a road.

(Ronaldo Bolanos/Los Angeles Times)

And as Ford bets on with “American Icon,” they want something they can experience.

“This is a different way to reach a Gen Z customer that is very much looking for or has seen engaging content online,” he says. “And when you come in to do that experience, it’s really every sense. When you do the 4D ride, it is every sense. You smell. You feel it. You hear it. You see it. And when you’re immersed on that level, you put the phone down.”

And that, of course, is an essential rule to enjoying the road.

IF you’re a train fanatic, or know someone who is, then this could be the perfect gift – or make it a great day out for yourself.

One steam railway is starting a brand new experience where enthusiasts drive their very own locomotive.

You’ll find the Ravenglass & Eskdale Railway in Cumbria running from the coastal village of Ravenglass into the Lake District National Park.

Currently, the railway gives its passengers the chance to enjoy the countryside scenery from the comfort of its carriages.

But now, it’s launching a new weekend experience where people can actually step onto the footplate and drive the train.

Called the ‘Railway Engine Driver Experience’ it will offer hands-on experience of life on a steam train.

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Participants will get to be up front with one of the railway’s experienced drivers and spend 40 minutes taking the vehicle from Ravenglass to Irton Road.

The journey that newby drivers will go on includes an uncoupling in the passing loop.

On the return run, the driver on the experience will go through authentic railway practice and get a genuine taste of what the job entails.

The driver gets to take control on the footplate, and any additional guests can enjoy the journey from the comfort of First Class Carriage 140.

At the end of the session the learner drivers will be awarded a Certificate of Achievement.

Afterwards, there will be a chance to relax with afternoon tea and enjoy sandwiches, pastries, cakes and a scone with jam and cream.

Coinciding with 150 years since the Ravenglass & Eskdale Railway first carried passengers in 1876, the experience will launch from 14 to 22 March 2026.

Nicky Williams, General Manager at the Ravenglass & Eskdale Railway said: “How many people dreamed of driving a real train when we they were young?

There’s a special kind of magic in taking the controls of a steam locomotive, and next spring we’ll be handing that magic directly to a select few.

“As we celebrate 150 years of carrying passengers through the Eskdale Valley, these new experiences put the public in the driving seat on one of Britain’s most cherished heritage railways, guided by the experts who continue to keep the line alive every day.”

Now for the technicalities, sadly this isn’t one for kids as drivers-for-a-day must be over the age of 21.

Anyone booking onto the experience can invite up to eight spectator guests to be part of the experience for an additional fee which does include afternoon tea.

Price for the driving experience start from £210pp and £99 for spectator guests.

For more information and to book, visit: www.ravenglass-railway.co.uk/gift-experiences

A brand new crime-themed train experience is coming to UK city…

A train journey across the UK can be a magical experience depending on the views – but a new train is launching that doesn’t actually go anywhere.

The Unseen Experience is set to open in London in December and unlike a normal train journey where you purchase a ticket, get on board and travel from A to B, this service stays in the same spot.

Visitors will ‘board’ in complete darkness, being blindfolded throughout their ‘journey’.

Then, each ‘passenger’ will be “transported through time aboard a mysterious train as 3D audio surrounds you from every direction”, according to the event’s creators, Fever.

The experience involves two stories on one train and is said to be “perfect for fans of mystery, crime and psychological thrillers” – so perhaps not one for people who are expecting the Orient Express.

According to Secret London, in the first world, you are a deserter on the run in 1980, during the Cold War.

Then, in the second world, you are a survivor on the same train, but this time it is around 100 years later in a post-apocalyptic world.

Your fate is decided by the fellow passengers. The journey lasts for 35 minutes in total and each passenger must be over the age of 14 years old.

For more on trains, check out the Thomas the Tank Engine train experience with outdoor shows and unlimited rides.

Plus, the incredible train journey that’ll ‘ruin every other railway trip you take’.