From KCRW Santa Monica and KCRW.com, it's The Treatment.

Welcome to The Treatment, I'm Elvis Mitchell.

In the 30 years since the White Balloon, my guest, the filmmaker, Jafar Panani, has made films that have been about the way we experience the truth.

And I just told him before we got started, I saw his film, it was just an accident, which won the Palma Dorothecanton Film Festival.

And I tell the last 10 minutes, I'm still

reeling from that. And of course, he corrected me and said it's the last 13 minutes of the film.

First of all, thank you so much for being here.

Thank you. Thank you. And thank you for inviting me. I'm happy to be here.

Let's talk about that last section of the film. It was just an accident because I think

if your films is taking moments that should be about celebration, the birth of a child,

as in the circle or a marriage as in crimson gold, the birth of a child and a marriage as in it was

just an accident you take moments that are about celebration and make them about more than that

what does that come from in fact you can call life moments of happiness, sadness, and everything together.

They are inseparable, and when they are intertwined, that's when life will come and have its actual meaning and will become more believable.

This is the job of a socially engaged filmmaker to take all the realities of their society and to portray them as they are.

If a filmmaker dispenses with any of these, it means that they are not telling the truth or a portion of reality.

But it's also about how these moments happen everywhere. They cannot be extricated from any society.

Yes, that is the case anywhere in the world.

I am speaking about the society I live in where I live in the world.

And it is due to these similarities that anywhere in the world the film is shown,

the audience is able to relate to it.

I think, though, that these moments,

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