Jafar Panahi stands as a vital, if often embattled, voice in contemporary Iranian cinema, a direct descendent of the Iranian New Wave whose impactful work resonates deeply with film collectors. His career, especially since his 2010 ban from filmmaking, offers a masterclass in creative defiance, with films like *This Is Not a Film* (2011) crafted under house arrest. These unique productions, captured with minimal crews and clandestine methods, are prized by collectors not just for their artistic merit but for the harrowing stories behind their very existence. Panahi's most sought-after films often appear as boutique label releases due to their challenging production and distribution. Titles like *Taxi* (2015), where Panahi himself poses as a taxi driver documenting conversations, and *Three Faces* (2018), which subtly explores the lives of women in rural Iran, are celebrated for their poignant social commentary and innovative, almost guerrilla filmmaking techniques. Collecting Panahi’s work means acquiring a piece of film history, celebrating an artist’s unwavering commitment to his craft against incredible odds, and preserving cinematic acts of pure courage.