The Seed of the Sacred Fig Is Furious, and It Wants You to Be, Too

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As a film enthusiast who has spent countless hours immersed in the rich and diverse world of cinema, I must say that “The Seed of the Sacred Fig” left an indelible mark on me. The raw emotion, the unflinching portrayal of oppression, and the resilience of the human spirit in the face of adversity are elements that resonated deeply with my own experiences and beliefs.

In the heart of the novel “The Seed of the Sacred Fig“, the investigating judge Iman (Missagh Zareh), whose name signifies faith, is experiencing a crisis. The weapon he oversees in his work has mysteriously vanished, with his family denying any knowledge of its whereabouts. He’s been inundated by protesters advocating for Woman, Life, Freedom, and the numerous death sentences he’s been compelled to sanction are weighing heavily on him. Furthermore, his daughters, whom he believed he had nurtured piously, are confounding him with their empathy towards the women shedding their government-mandated veils and participating in public protests. The walls he’s meticulously constructed between his personal and professional lives are crumbling, to the point that when he stops at a traffic light on his way home, he believes he sees his eldest daughter driving beside him, with her hair uncovered, makeup applied, and visible tattoos. She meets his gaze, an unrepentant embodiment of his fears. This novel, a political thriller, a chilling horror tale, and a tribute to defiance, finds its courage and spirit in the bravery of Iranian girls and women.

“The Seed from the Holy Fig

The movie initially unfolds as a blend of home and professional life narratives. Iman, who has been elevated to a judge within Iran’s state investigative court, now faces a high-profile role that necessitates a move to a larger, more secure apartment in a different neighborhood. His wife Najmeh (portrayed by Soheila Golestani, a real-life political prisoner still residing in Iran) views this shift as an opportune moment to inform their daughters, Rezvan (Mahsa Rostami) and Sana (Setareh Maleki), about Iman’s occupation. She emphasizes that the duties of his new position will not only affect him but also extend to them, requiring them to be impeccable in behavior. This means avoiding questionable selfies or social media posts, abstaining from fashion choices like dyed hair, nail polish, or waxed eyebrows, and distancing themselves from friends who might tarnish their family’s reputation, such as Sadaf (Niousha Akhshi), a college friend of Rezvan’s whom Najmeh suspects is a negative influence. As the protests escalate and Sadaf becomes involved, the rift between Iman and his daughters deepens.

Najmeh cautions Iman about their daughters, who have grown increasingly interested in Instagram videos of the protests and are skeptical of the state-run media’s portrayal of the demonstrators as destructive without cause. However, Iman is convinced that his daughters would never defy their parents’ beliefs or disobey their commands. This changes when the gun Iman was given for protection mysteriously disappears. At this point, Iman becomes fearful and suspects that his daughters are capable of anything. The novel, The Seed of the Sacred Fig , then transitions into a portrayal of Iman’s growing paranoia and a depiction of the methods he uses for interrogation at work. He sends Najmeh, Rezvan, and Sana to a coworker who focuses on ‘psychology and body-language analysis’ to determine if they are hiding something about the gun’s whereabouts. He searches their room thoroughly, confiscates their phones, tries to create discord among them, but is surprised when their reaction isn’t submission, but resistance instead.

In Rasoulof’s films, resisting the state requires immense strength, while adhering to the law is a form of compartmentalization. His latest film, There Is No Evil, delves into this contrast through four stories about men carrying out capital punishments. Rasoulof stated that while he was imprisoned in 2022, guards who watched the film found it resonated deeply with their personal experiences. The film, The Seed of the Sacred Fig, offers minimal empathy for its male characters, most of whom are government officials who blindly obey orders, whether that involves inflicting emotional pain on young women or approving execution orders. Instead, it argues that tradition and patriarchy are two interconnected toxins feeding off the energy and vitality of their subordinates, much like the Ficus religiosa, an invasive weed. The film’s portrayal of the experiences of young women in the country is comprehensive, thanks in part to actual protest footage from Woman, Life, Freedom participants. It forcefully expresses the viewpoints of these women, such as the idea that personal appearance doesn’t undermine one’s faith, that female friendships are not dangerous, and that people should be able to voice their opinions about their rulers and government without fear of reprisal. Unlike any celebrity statement or viral video, it conveys anger in a way that no amount of well-intentioned actions could match.

As a fervent admirer, I’d express it this way: Over time, Rasoulof has chosen to make his films less symbolic and more straightforward, focusing on portraying themes of oppression and totalitarianism in an undeniable manner. In his latest film, “The Seed of the Sacred Fig,” we see this clearly with the characters Rezvan and Sana, both young actresses who deliver powerful performances, particularly when they challenge their parents. For instance, when Rezvan confronts Iman at the dinner table about his hypocrisy towards dissenters, Rasoulof positions her in the foreground to emphasize her words advocating for equal treatment of women.

The movie maintains an air of the bizarre, yet it’s a melancholic absurdity. For instance, Iman’s workplace is adorned with cardboard figures of individuals such as the late Revolutionary Guard commander Qasem Soleimani, who was killed in a U.S. drone strike in 2020, and populated with blindfolded prisoners in stress positions, who stand motionless as Iman and his coworker Ghaderi (Reza Akhlaghirad) move among them. Neither of them glances at or acknowledges the prisoners’ predicament. The film, titled The Seed of the Sacred Fig, suggests that their apathy, rather than being a mere act of self-protection, could be the catalyst for their ruin.

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2024-11-27 20:54