‘The Seed of the Sacred Fig’ Director Mohammad Rasoulof on Current State of Iran: ‘The Islamic Republic Is Vulnerable and Unstable’

As a long-time admirer of the cinematic artistry that emanates from the Middle East, particularly Iran, I can’t help but feel a deep sense of both sadness and admiration for Mohammad Rasoulof. The courage it takes to create profound works under such oppressive circumstances is truly inspiring.

As a fervent advocate, I found myself fleeing to Europe in May, having been meted out a prison term and lashed by the Iranian authorities due to my cinematic creation titled “The Seed of the Sacred Fig.” This very film garnered the Special Jury prize at Cannes.

I’m heading to Locarno myself, eager to showcase my intense drama that unfolds the story of a judge in Tehran’s Revolutionary Court, who faces suspicion and anxiety as anti-government protests escalate. Meanwhile, his personal life suffers a heavy blow. I can’t wait to share this powerful piece on the Swiss fest’s grand Piazza Grande with an audience of 8,000 fellow movie enthusiasts.

Mahmoud Rasoulof answered queries posed by EbMaster on adapting to life in Europe and his current perspective of his home country, viewed from a distance.

Given that you’ve just departed from Iran, I wonder how your transition has been going in Europe, particularly Germany? Is there anything about life here that stands out to you, or perhaps any challenges you’re facing?

For decades, my primary concern was living in Iran and telling heartfelt stories through my films that were crucial for Iran’s perspective. Enduring censorship, travel bans, interrogations, challenging underground filmmaking conditions, and imprisonment were all obstacles I faced during this arduous journey. Prison served as a time for introspection, and upon my release, I knew another prison sentence was imminent. However, before the verdict, in a daring move, I initiated the production of “The Seed of the Sacred Fig.” As we progressed with filming, the verdict arrived, and only a few days after completing the movie, I learned of my eight-year sentence from the Court of Appeal. As a filmmaker, I was faced with the choice between continuing to create films or succumbing to victimhood and returning to prison. This decision gave me the resolve to leave Iran, aware that the journey might be long. Now, I see myself as a traveler on an extended business trip, with numerous unfinished tasks awaiting my attention. In exile, I have many loyal friends and high hopes that inspire me to work even harder.

Could you please explain the minor adjustments you think you’ve made to “The Seed of the Sacred Fig” since its screening at Cannes?

There haven’t been major alterations, just some streamlining and minor technical enhancements were required instead.

Are you looking forward to showing the movie at Piazza Grande, the biggest open-air theater in Europe?

Following its debut at Cannes, the movie later graced the screens at the Sydney Film Festival, earning the Audience Award for Best International Feature. I’m ecstatic about the chance to view this film in Piazza Grande. Reminiscing back to 2002, I showcased my first film at the Locarno Festival and had the privilege of watching a Fellini masterpiece on the Piazza Grande screen. That experience remains etched in my memory. After two decades, I’m returning to that very spot. My excitement levels are sky-high, anticipating seeing my movie on such a grand screen before an audience of approximately 8,000. Here’s hoping for clear skies on the night of the screening!

Are you happy that our movie has been distributed globally, with Neon securing rights in the U.S.? Are you planning a trip to the U.S. for promotional purposes?

Distributors such as Films Boutique and Parallel 45 in Europe have a thorough and precise grasp of this particular genre of cinema. Conversely, partnering with a distributor like Neon, a highly professional group with a comprehensive awareness of a film’s future trajectory, is incredibly engaging. It’s a delight to collaborate with them.

I’m considering a trip to the U.S. for movie showcases, but since I haven’t obtained a passport yet and will need documentation assistance from Hamburg, I’m unsure if I can venture beyond European borders.

As someone who has closely followed political events in Iran for years, I must say that the recent election of reformist politician Masoud Pezeshkian has certainly caught my attention. Based on my observations and understanding of the Iranian political landscape, I believe that his victory could potentially bring about some positive changes within the country’s governance. However, it remains to be seen whether these changes will indeed materialize, as the Iranian political system is complex and fraught with challenges. Time will tell if this election marks a turning point for Iran or just another step in its ongoing struggle for democratic reform.

As a cinema enthusiast, I find the Islamic Republic’s rule over Iran to be akin to a precarious and unstable film production company, struggling to maintain its legitimacy and popularity among the masses. For years, they have been directing their country through oppressive measures, stirring up crises as a means of survival. However, these manufactured conflicts eventually pile up like unwanted takes in a bloated edit suite.

In our previous conversation, you expressed doubt about the longevity of the Iranian regime and suggested that the international community should take a firmer stance against them. Are these views still held by you now? Furthermore, do you believe or hope that your film could contribute to increasing the pressure on Iran?

Primarily, I aspire for transformations within Iranian society and to provoke thought among those, whether intentionally or unintentionally, upholding the existing power structure. History has demonstrated that my films eventually resonate with their Iranian viewers. In contrast, my work embodies my dedication to presenting an authentic depiction of the period I inhabit, despite the stringent censorship and suppression in Iran.

2024-08-10 20:17

‘The Seed of the Sacred Fig’ Director Mohammad Rasoulof on Current State of Iran: ‘The Islamic Republic Is Vulnerable and Unstable’

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