According to Khabaronline, Pezhman Jamshidi — a figure who first rose to fame on the football field wearing the jersey of Persepolis F.C. and Iran’s national football team — had, against all predictions, crossed the high wall of being labeled a “non-actor” and become the number one box-office star.
In the public eye, he was more than just an actor; he was a phenomenon whose presence in any film or television series — from Zir Khaki to Hotel — was considered a guarantee of audience laughter and enormous profits for producers. It is precisely this elevated status, combined with his background in professional football, that has turned the recent accusation into a social earthquake.
The case deepened on October 21, when news broke of his arrest on charges of rape, dominating the public sphere. Jamshidi was later released on bail, but his departure from the country during that period fueled a wave of suspicion.
Many on social media spoke decisively of the end of his presence in Iran. However, his return and appearance at court hearings signaled that the star intended to continue the fight within the framework of the law.
Upon his return, rejecting rumors of flight and denying the accusations against him, Jamshidi insisted on his innocence and declared his readiness to confront and defend himself against the charges.
Ali Mohammadzadeh, Jamshidi’s lawyer, referring to the details of the three-and-a-half-hour session, spoke of submitting a detailed legal brief and emphasized that the complainant’s statements had been filled with contradictions from the very beginning of the case up to the present.
He stated with confidence that there is no admissible evidence or documentation against his client and that the final decision rests with the judges. He also pointed to Jamshidi’s personal presence at the hearing and noted that the preliminary reviews have now been completed.
In contrast, the complainant in the case, addressing allegations made against her, described claims of extortion as entirely false. She stressed that she is not seeking financial gain and stated that she has submitted documents to the court regarding substantial financial offers allegedly made in exchange for withdrawing her complaint.
Referring to psychological pressure, she disclosed threats that led to the exposure of her identity and noted that she does not even have an Instagram page for visibility.
The complainant has relied on scientific documentation, including a forensic medical report citing the presence of the defendant’s DNA as well as bruising and swelling on her body. She described her objective as ensuring the safety of other women.
The complainant’s mother also sharply criticized the judicial process, questioning why a temporary detention order that had been properly issued was converted to bail during public holidays and without logical justification. She urged the judges to rule solely on the basis of her daughter’s evidence and warned against support from certain individuals for alleged perpetrators.
The tense atmosphere has revived collective memories among Iranians of the rise of the Iranian version of the MeToo movement — a wave that accelerated following Somayeh Mirshamsi’s allegations against Farhad Aslani and intensified with the well-known statement issued by “800 women filmmakers.”
Figures such as Taraneh Alidoosti and Hanieh Tavassoli were part of a five-member committee tasked with addressing harassment claims, though the movement itself faced numerous controversies.
On one hand, the shocking revelation by Katayoun Riahi against Saeed Poursamimi during the days of the Cannes Film Festival left the public in disbelief. On the other hand, accusations against figures such as Aydin Aghdashloo and Keyvan Emamverdi shook the power structures within the art world.
However, the lack of documentation in some claims led artists such as Pantea Bahram and Hengameh Ghaziani to withdraw their signatures and warn that the movement should not be allowed to turn into a tool for revenge.
The movement was not limited to stars alone; from university professors and renowned painters to civil activists and theater artists, many were swept up in the storm. Numerous popular figures lost their social standing permanently, and some faced heavy judicial sentences.
Although the movement began with the aim of breaking the silence of victims, along the way it encountered significant legal and ethical challenges in distinguishing between truthful disclosure and character assassination — a shadow that now weighs even more heavily over Jamshidi’s case.
Meanwhile, thought-provoking remarks by a film producer have further complicated the dimensions of the case. He claims that this is not the first time Jamshidi has faced such an accusation.
According to him, the actor had previously been involved in a similar case that was quietly closed through the intervention of a lawyer and the payment of a bribe to the complainant.
The producer stated firmly that Jamshidi’s artistic career has come to an end and that influence and wealth can no longer return him to the screen industry.
Now, with these two completely opposing narratives, determining the truth has become difficult for public opinion, which remains unaware of the behind-the-scenes details.
On one hand, there is the possibility that Jamshidi’s remarkable success and wealth have made him the target of a smear campaign. On the other hand, the complainant’s allegations and the alleged prior record raise a major question about the true nature of this star.
At this stage, any attack against either side before a final verdict would be inappropriate, as the truth lies hidden within judicial documents. Only time will reveal whether the scales of justice will rule in favor of a star who insists on his innocence, or whether the complainant’s claims will permanently alter the course of this actor’s history in Iranian cinema.
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