‘Seed of the Sacred Fig’ Director Mohammad Rasoulof Says Iranian Regime Is ‘Waiting to Announce the Verdict’ for Persecuted Cast and Crew Until ‘After the Oscars’

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Muhammad Rasoulof, the director of the Academy Award-nominated movie “The Seed of the Sacred Fig,” is supporting his actors and team members who have faced accusations of promoting “unethical behavior” and “criticizing” the Iranian government.

Last week, one of the movie’s actors, Soheila Golestani, was prevented from departing the country, thus she couldn’t participate in a jury at the International Film Festival Rotterdam. During a panel discussion at the event, held in partnership with the International Coalition for Filmmakers at Risk, Rasoulof expressed his view that the authorities might be delaying the judgment until after the Oscars, where the film is nominated for best international feature.

As a movie aficionado, I find myself in a state of anticipation, wondering how the filmmaking community will react following the Oscars. The current tranquility seems to have pacified our community, but that could all change post-awards. Filmmakers are often treading on dangerous ground, not just because they share stories that the powerful would rather keep hidden, but because their bravery is highly infectious. They serve as beacons, inspiring others to venture off the beaten path, carving out paths uncharted by the government. We’re dealing with a cinematic community craving fresh experiences.

Rasoulof also recalled his own struggles that ultimately forced him to flee Iran last year. 

For about 15 years, I’ve been battling daily challenges, not just against the legal system but also against the security forces that contribute to the intricate web of oppression in Iran. I’m not unique in this struggle, and I won’t be the only one either. This is a situation faced by many, including Maryam Moghadam and Behtash Sanaeeha, creators of “My Favorite Cake,” who are similarly forbidden from leaving the country.

Speaking as a passionate cinephile who’s walked the halls of imprisonment and undergone various rounds of questioning, I’ve drawn upon these life lessons to enrich my cinematic creations. Just like any other unconventional artist, I learned to adapt and thrive within this unique artistic society.

In the intricate web that is Iran’s film industry, the process officially begins with securing permission. However, one must then navigate through another layer of approval to distribute the film. Some filmmakers stray from the path and are subsequently denied distribution. Another group, including myself, operate outside the system entirely, creating films without official permission.

He added: “Either you don’t make these films and find other ideas, which is an example of self-censorship, or when you’re writing the script, you’re faced with some questions: ‘How can I write this so that we don’t get arrested?’” 

Despite the risk of getting arrested being greater with a longer film duration, he refused to split “Sacred Fig” into different segments because it was deemed challenging by his team. However, they chose to take on this challenge and bring the project to fruition.

Rasoulof expressed worry about potentially endangering his colleagues by involving them in the project, but the ‘Women Life Freedom’ movement inspired them with courage. In Iran’s official cinema under the Islamic republic, enforced use of the hijab is a significant tool for censorship reinforcement. Those working on Rasoulof’s film chose not to wear hijabs as a form of protest against this censorship.

He explained: “The oppressive nature of Iran has a deep-rooted history which, in turn, gives rise to its unique artistic expressions. I refer to this as the ‘aesthetics of oppression.’ In the past, films that were too straightforward were often disregarded and not considered poetic enough within this context. This influenced my third film, causing me to unknowingly adopt these aesthetics for protection. I made this choice out of fear. However, I’ve since begun telling stories in a more direct manner. Even if I choose to use metaphors and symbols again, I want it to be a deliberate decision born from courage.

Another individual, Erhan Örs, one of the filmmakers for “Seen Unseen: An Anthology of (Auto)Censorship”, was unable to attend the festival, much like Golestani. His visa application was rejected for reasons that remain unexplained, but as stated by the festival director Vanja Kaludjercic, it’s not hard to interpret the situation.

One of his fellow directors, Fırat Yücel, commented: “Censorship in Turkey extends to financing, government, ideas, and identities. It’s unpredictable – you could produce a movie, show it, and face no repercussions, or end up serving an 18-year prison sentence like producer Çiğdem Mater. This tends to affect Kurdish filmmakers and those in the LGBTQ+ community the most.

Speaking about filmmaking that pushes boundaries, he noted that the current administration effectively employs laws as a tool to create challenges.

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In the realm of boundary-pushing films, he pointed out that the current government skillfully uses laws to present obstacles.

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Regarding movies that challenge societal norms, he commented that the current government cleverly applies laws to pose difficulties.

Over the past six years, individuals have faced legal consequences for various film-related activities such as directing films, creating documentaries, planning to make movies, editing footage, displaying posters of films, and even simply viewing them.

Italy’s Pier Giorgio Bellocchio also discussed the changes in his country.  

He stated that Italy currently has a right-wing administration. Notably, several members within this government openly associate themselves with Mussolini’s dictatorship and make no effort to hide it. Their efforts are focused on altering laws concerning the funding of Italian films.

Instead of “censorship of content, there’s censorship of production,” he noted. 

He stated that films addressing topics like gay issues, immigration, or governments overtaken by fascism can be produced. However, since 2024, the government has withheld tax credit funding for a period of 14 months, leading to the collapse of numerous small businesses. He added that 80 million dollars have been allocated to funds managed by commissions, whose members are appointed and employed by the government. Some of this money is intended for projects focusing on past glories and Italian heroes, which is ironic given that many of these commission members would likely oppose the current administration.

Argentine filmmaker Albertina Carri observed several parallels, but with one notable difference: “We currently have a president who behaves like a schoolyard bully.

Carri stated that we’ve changed how we produce and tell stories, which was met with disapproval by the conservative government. They shut down the National Institute of Film and Audiovisual Arts (INCAA), making it difficult for independent cinema to thrive. Carri claims their goal is to annihilate national film production.

However, Fırat Yücel noted that examples of external pressure are prevalent even nearby, as he observed in the Netherlands: “In the Netherlands, we seldom discuss issues like systemic racism and xenophobia, or our stance on protests against the genocide in Palestine. I’ve noticed self-censorship here as well.

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2025-02-03 18:20