R&B legend Mary J. Blige and hip-hop heavyweight Nas are showing some real love for their Texas fans, with August stops in Austin, Dallas, and Houston scheduled for their co-headlining tour across the U.S. this summer.
Their swing through Texas starts August 2 at the Cynthia Woods Mitchell Pavilion in The Woodlands, followed August 3 by a concert at the Austin360 Amphitheater inside Circuit of The Americas, and August 22 by a show at Fair Park’s Dos Equis Pavilion in Dallas.
It’s the first time Blige and Nas will be touring together. In all, they’re playing gigs in 22 North American cities.
Tickets go on sale at 10 am on April 19, at 313Presents, LiveNation, and Ticketmaster. For holders of Citi credit cards, tickets will be available from noon on April 17 to 10 pm on April 18, at citientertainment.com.
Blige, a singer, songwriter, and actress, has racked up eight multiplatinum albums, 31 Grammy nominations, nine Grammy wins, two Oscar nominations, and four Golden Globe nominations. Her most recent album was 2017’s Strength of a Woman. Her hits include "Be Without You," "Real Love," "Just Fine," and, of course, "No More Drama."
Meanwhile, Nas has notched eight platinum and multiplatinum albums, 11 albums in the Billboard Top 10, and 13 Grammy nominations. In 2018, Nas released his first album (NASIR) after a six-year break. His hits include "If I Ruled the World," "Hate Me Now," and "N.Y. State of Mind."
Mohamad Ali Elyasmehr, Majid Panahi, and Hadis Pakbaten in It Was Just an Accident.
American filmmakers, for the most part, enjoy luxury and freedoms when making movies in the United States that filmmakers in other countries could only dream of. Not only does Iranian writer/director Jafar Panahi not have millions of dollars with which to make his films, he also has to deal with a government that has previously arrested him for being critical of their policies.
And yet he persists, returning to the screen with the taut It Was Just An Accident. The film begins with a kind of misdirect, showing Eghbal (Ebrahim Azizi) and his family driving home at night, during which they strike and kill a dog. That accident sends Eghbal into the orbit of Vahid (Vahid Mobasseri), who works at a business that helps repair Eghbal’s car.
Recognizing the distinctive sound of Eghbal’s prosthetic leg, Vahid believes him to be the same man who kidnapped and tortured him and others in a recent government arrest spree. Desperate to confirm his suspicions, Vahid kidnaps Eghbal and takes him to a series of people who were also imprisoned under the man they named “Peg Leg,” including Shiva (Mariam Afshari), a wedding photographer; Golrokh (Hadis Pakbaten), the bride being photographed; and more.
Most filmmakers have the ability to use sets and take as much time as they need — within reason — to get the shot they need. Panahi employs a type of guerrilla filmmaking rarely seen these days, stealing shots in broad daylight while trying not to gain the notice of Iranian authorities. The daring nature of the making of the movie infuses the story with an extra tension that elevates what is otherwise a relatively simple story.
The film puts the audience directly in the shoes of the various characters as each of them wrestles with the complicated feelings arising from their actions. As they were all blindfolded while imprisoned, they can’t be 100 percent sure they have the right man, and debates/arguments between the characters keep viewers guessing as to who he is and what they will do with him. Even if he is who they think he is, will enacting some kind of revenge on him soothe their consciences?
Through it all, the idea that a former political prisoner is making a film about former political prisoners who are engaging in conduct that could get them arrested again — just as Panahi is doing with his film — makes this meta filmmaking on another level. The simplicity of the story belies the complexity underscoring the entire film, and it delivers one of the most impactful endings of any recent movie.
While a few of the actors have acted before, including in previous Panahi films, most of them are making their first appearance in a movie. Despite this lack of experience, each of them does well, especially Mobasseri and Afshari, who share a number of heated scenes that bring out the best in both of them.
It Was Just an Accident is the type of film that constantly keeps the audience on their collective toes, never knowing where it will head next. And that’s even if you didn’t know the details of how and why it was made; once that is discovered, it becomes something much deeper and more important than most other movies that will be released in 2025.
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It Was Just an Accident is now playing in select theaters.
