Iranian Director Mohammad Rasoulof on His New Play and Parallels Between Iran and the U.S.

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Last year, Iranian filmmaker Mohammad Rasoulof, renowned for the movie “There Is No Evil,” was compelled to leave his native land to avoid serving an eight-year jail term.

In 2024, his most recent movie titled “The Seed of the Sacred Fig” received a special jury prize at the Cannes Film Festival and was nominated for the Best International Feature Oscar, which it represented as a submission from its new location, Germany.

Currently, the film festival director is chairing the jury for the 15th installment of the Luxembourg City Film Festival. Accompanying him are VFX expert Jeff Desom known for his work on “Everything Everywhere All at Once,” and long-time collaborator of Ken Loach, screenwriter Paul Laverty.

In an interview with The Hollywood Reporter (via a translator), Rasoulof discussed his current projects, drew comparisons between Iran and the United States during President Donald Trump’s tenure, and emphasized the significance of Iranian artists who deserve global recognition.

In what way have you managed life in Europe since you left Iran, and have you found an opportunity to contemplate or create a fresh movie project?

Things have been incredibly hectic, with everything moving at breakneck speed, leaving little room for contemplation. However, I find myself spending a significant amount of time aboard aircraft. My upcoming project is taking shape, much of which I’ve drafted during my flights.

Can you share anything more about what you are writing about or the themes you are exploring?

To start off, I’ve returned after three decades to a theater project, this time focusing on a play in Berlin. Collaborating with us will be the actresses from “The Seed of the Sacred Fig,” namely Niousha Akhshi, Mahsa Rostami, and Setareh Maleki, who, like myself, have relocated to Germany.

The production primarily explores the trials of relocation, encompassing the experience of embracing a fresh culture, adapting to it, and managing the tension between maintaining your own roots while not being overwhelmed by nostalgia. It’s akin to a romantic tale – understanding how to persist in life after departure.

Recently, there has been extensive media coverage about the political turmoil and seclusion of Iran from global affairs. Conversely, today’s headlines revolve around the United States and President Trump’s policies, especially his tendency towards isolationism, which seems to be polarizing the nation. Can you find any similarities between the situation in Iran and the current events unfolding in the U.S.?

In my opinion, democracy is consistently vulnerable and should never be underestimated. Regardless of the nation or its governance structure, there’s always a chance that totalitarianism may emerge, as well as concerns about human rights being challenged. This struggle against such threats persists everywhere, making it possible to draw similarities between countries like Iran and others with self-important isolationist policies.

Regardless of where you find yourself, if your artistic beliefs center around humanity and human rights, you’ll consistently voice your opinion and persist in the fight. After all, there’s always work to be done.

Have you noticed that many filmmakers and actresses from The Seed of the Sacred Fig, including yourself, have moved away from Iran? Is it possible that this Iranian diaspora is playing a significant role in addressing the issues back in your homeland?

It’s complicated due to the fact that individuals residing outside of Iran may not have a complete understanding of the situation within Iran, as they often possess unique perspectives. Conversely, those living in Iran might not wish to be represented by expatriates. This tension arises when there is a large diaspora and widespread migration from a country, making it challenging for people to maintain connections with their home country. However, all Iranians share deep cultural roots and common ground, which are more accessible nowadays thanks to digital technology and global networks that enable communication and the formation of virtual communities.

However, it’s crucial to me that the voice of the Iranian populace is heard – these are the individuals who reside in Iran and should have a say in shaping Iran’s future. Their decision-making power is paramount.

Are there any other aspects of Iran that are often misunderstood, or topics you rarely get questioned about, which you consider crucial to bring attention to?

A significant number of young artists and filmmakers in Iran find themselves in an extraordinary predicament: while their physical bodies are confined within a repressive system that restricts their freedom of movement, creation, thought, and expression, their minds and ideas flourish unbounded by these constraints. They draw inspiration from the global artistic landscape, and in turn, contribute to it through their innovative works. It’s this interconnectedness, this bridge between the limited realm they inhabit and the broader world they aspire to be a part of, that I deeply appreciate and admire.

It strikes me that we ought to acknowledge and appreciate the extraordinary value of these artists in global cinema, and understand that their work, birthed from a peculiar context, stands distinctly apart.

In an undercover, non-conventional setting, they thrive and defy censorship, a daring act in itself. Yet, they manage to keep their narratives untainted by these circumstances. They aren’t overtly political in the traditional sense. Consequently, their work often goes unnoticed by western festivals or countries due to an assumption that, as Iranian artists, they should address the conditions of their work environment. However, they transcend such expectations and focus solely on expressing their personal desires, ambitions, and interests. I cannot help but feel regretful that they are not more widely recognized.

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2025-03-14 00:28