Mohammad Rasoulof’s Journey: Exile, Cinema, and Defiance \ Newslooks \ Washington DC \ Mary Sidiqi \ Evening Edition \ Mohammad Rasoulof, an Iranian filmmaker and dissident, fled Iran before facing an eight-year prison sentence and public flogging. Amid his harrowing journey, he completed The Seed of the Sacred Fig, a daring film set during Iran’s 2022 protests. Now settled in Germany, Rasoulof reflects on exile, the risks his collaborators faced, and his unyielding commitment to cinema and freedom.
Mohammad Rasoulof: Cinema, Exile, and Revolution – Quick Looks
- Escape from Iran: Fled after an appeal failed, avoiding an eight-year sentence and flogging.
- Cannes Triumph: The Seed of the Sacred Fig won a jury prize and a 13-minute standing ovation.
- Clandestine Filmmaking: Directed scenes in secret, integrating real protest videos into the film.
- Themes of Resistance: Film explores family tensions amid government crackdowns during the Mahsa Amini protests.
- Freedom in Exile: Now in Germany, Rasoulof experiences creative liberties while mourning separation from his homeland.
- Legacy of Defiance: Inspired by Iran’s youth, he remains committed to portraying truth through cinema.
Deep Look
The Decision to Flee
For years, Rasoulof had been a vocal critic of the Iranian government, a stance reflected in his films. His conviction on charges stemming from his filmmaking led to multiple stints in Tehran’s notorious Evin Prison. Following his 2022 arrest for advocating the release of fellow filmmaker Jafar Panahi, Rasoulof faced intensified scrutiny. When his appeal failed, fleeing became his only option.
“Making this film was part of that decision,” Rasoulof said, acknowledging that The Seed of the Sacred Fig essentially sealed his fate. “It was such a bitter decision, I was denying it and delaying it, waiting for a miracle to allow me to stay.”
Cinema Amid Chaos
Rasoulof recounted editing scenes from a laptop while being smuggled across Iran’s mountainous border. His companions urged him to set the computer aside, but Rasoulof’s commitment to his craft proved unshakable.
“When the Woman, Life, Freedom movement occurred, I was in prison,” he said. “It was through those videos that I realized what happened.”
The film’s themes resonate with the struggles of Iran’s younger generation. “The younger people are really brave,” Rasoulof noted, drawing inspiration from their resolve.
A Triumphant Debut
The film’s central conflict revolves around Iman, a lawyer appointed to Iran’s Revolutionary Court, whose family begins to fracture under the pressures of government crackdowns. His daughters’ growing dissent mirrors the broader societal unrest. The inclusion of real protest footage gives the narrative an unflinching realism, drawing audiences into the heart of Iran’s resistance movement.
Exile and New Beginnings
Now living in Germany with his family, Rasoulof has found freedom to share his work with a global audience. His films, widely banned in Iran, are celebrated internationally. Still, exile carries its own burdens.
“I haven’t grasped the meaning of exile,” Rasoulof admitted. “The feeling of that void has not hit me yet, and it may never come.”
The Risks of Collaboration
Rasoulof’s defiance extends beyond his own sacrifices. Many cast and crew members of The Seed of the Sacred Fig also faced dangers for their involvement. Several have since fled Iran, including actresses Mahsa Rostami and Setareh Maleki, who now reside in Germany.
Asked about their safety, Rasoulof responded soberly: “No one is safe from the Islamic Republic.”
Creativity Unbound
“I haven’t seen many of my films on a big screen,” he reflected. “A festival in Portugal has promised to take me to see my own film.”
A Sacred Fig and a Metaphor for Resistance
The title of The Seed of the Sacred Fig originates from an ancient fig tree Rasoulof encountered in southern Iran. The tree’s parasitic seeds spread onto other trees, killing them and taking their place—a metaphorical nod to Iran’s repressive regime.
Rasoulof, who still fondly recalls his Tehran apartment filled with plants, mused about the fig tree he left behind. “I really miss my plants. A neighbor takes care of them for me.”
