As a film critic with roots deeply embedded in the rich cinematic landscape of Iran, I found “The Seed of the Sacred Fig” to be a poignant and profound reflection of contemporary Iranian society under oppressive regimes. Jafar Panahi, Asghar Farhadi, and now Manuchehr Moshi – these visionary directors have a unique ability to weave intricate narratives that expose the harsh realities faced by ordinary citizens while maintaining a delicate balance between hope and despair.
The Sacred Fig’s Seed starts off with an unsettling and chilling tone for viewers. The film was secretly shot due to its controversial nature, as Iranian director Mohammad Rasoulof had previously faced arrest by the oppressive Islamic regime multiple times. The cast, crew, and Rasoulof himself braved potential death to share this heart-wrenching tale. Shocking social media clips are interspersed throughout the film to underscore the tragic reality of the harsh penalties faced by dissenters in a closed society ruled by a brutal theocracy.
In the evening, Iman (Missagh Zareh) arrives home late at their modest two-bedroom flat that he and his wife Najmeh (Soheila Golestani) share with their teenage daughters Rezvan (Mahsa Rostami) and Sana (Setareh Maleki). Najmeh has thoughtfully prepared dinner and tea, eagerly anticipating her husband of over 20 years. Iman carries significant news. The Revolutionary Court has advanced him to a role as an investigative judge, and he’s been given a firearm for personal safety.
Najmeh is overjoyed. They’ll be given a much bigger apartment, more money, and moved to an elite district in Tehran. Iman doesn’t share her optimism. Iran has been wracked by protests over the death of Mahsa Amini, the real-life 22-year-old student who died ‘mysteriously’ in police custody for not wearing a hijab (or head covering), with many eyewitnesses and doctors testifying that she was beaten to death. Iman has been ordered to sign the death sentences of arrested protesters. How can he end the lives of people who never had their cases properly investigated?
The Judge, His Family, and His Gun
Iman’s girls are unaware of their dad’s occupation. The identities of the judges remain hidden to prevent backlash. Najmeh cautions her kids about sharing on social media or participating in anything potentially blasphemous. Rezvan, a 18-year-old, causes worry as he prepares for college. Sana, who enjoys decorating her nails and wearing makeup, finds it confusing why her father often isn’t home. That evening, Iman, exhausted from the day, falls asleep only to be shocked later when he notices his gun is gone from its usual spot on the nightstand.
As a devoted admirer, I’m following the powerful works of Asghar Farhadi’s contemporary, Jafar Panahi. His films, like the Golden Bear winner “There Is No Evil” and Cannes Un Certain Regard award-winner “A Man of Integrity,” have not only won prestigious awards but also serve as a sharp critique of the Iranian government. The unjust application of capital punishment in suppressing dissent is a theme that resonates strongly. In his latest work, “Iman’s Frenzied Search for the Missing Weapon,” Panahi masterfully lifts layers off the tightly controlled societal veil, revealing the widespread discontent within the nation.
In the movie The Seed of the Sacred Fig, Najmeh and her children are the main characters. The film delves deeply into their lives, which are restricted, for almost three hours. Iman, who is often distant, holds a powerful position but seldom interacts with his daughters. They are not privy to what he does, but they regard him as part of their problems. A poignant scene shows Rezvan and Sana confronting him about the violence on the streets when they have rare family gatherings. How can such a man, who claims to be fair and honest, be so loyal to a government that harms its own citizens?
Paranoia, Cruelty, and Heartbreak in Iran
The gun becomes a source of increasing paranoia in a riveting second act. Iman’s superiors would hold him responsible. He risks prison and his family’s ruin if it isn’t found immediately. This leads to a more troubling thought. Someone in his house must be the culprit. This is a sentiment that Najmeh refuses to entertain. The girls didn’t even know he had a weapon. How can they be responsible? Does he think she did it? What purpose would that serve? Iman’s desperation becomes a sobering reminder of just how insidious fear, distrust, and power can be when unchecked.
In this film, Rasoulof doesn’t criticize religion or Persian traditions. Instead, the characters of Najmeh, Rezvan, and Sana are not instigators of social unrest. Rather, Najmeh is a devoted follower of government regulations, which adds layers of emotional complexity to the movie. Her devotion is seen in her commitment to her faith and raising well-rounded children, but she’s also mindful of potential harsh repercussions. Scenes showing her urging the girls to be obedient and respectful reveal this concern. There’s a risk they might end up like Mahsa Amini. Despite her daughters’ resistance to strict control, Najmeh is determined to prevent that outcome.
Rasoulof’s incorporation of real-life footage is incredibly poignant, for the brutality depicted is all too genuine. The sight of blood flowing from the wounded carries an authenticity that cannot be denied. As Rezvan and Sana furtively observe their fellow citizens being savagely attacked and killed in full view, one can sense their profound sorrow. Should they remain silent to evade such violence? Or should they bravely voice their opinions, knowing full well the dire consequences that may follow?
The Enemy Within?
In a more casual tone:
Rasoulof left Iran to escape legal repercussions after the film’s premiere. The moving film The Seed of the Sacred Fig, which won the FIPRESCI Prize and a Special Jury Award at this year’s Cannes, truly deserves these accolades for its powerful themes of individual liberty, gender equality, and fair justice. It is crucial to always appreciate these values. The Seed of the Sacred Fig features Persian (Farsi) dialogue with English subtitles. It is a collaboration between Run Way Pictures, Parallel45, and Arte France Cinéma. The film will hit US theaters on November 22nd, distributed by NEON.
Read More
Sorry. No data so far.
2024-11-15 16:32