NEW YORK — Just before he was about to be punished with flogging and an eight-year prison sentence, filmmaker Mohammad Rasoulof successfully escaped Iran.
His incredible journey extended over weeks, traversing from Tehran through quaint rural villages, on foot across a challenging mountainous border, leading him eventually to Hamburg, Germany. Despite the arduous nature of the trek, Rasoulof faced an additional challenge: he had to finalize a film amidst his perilous escape.
Just one week after arriving in Germany, Rasoulof premiered his film, “The Seed of the Sacred Fig,” at the prestigious Cannes Film Festival in France. Even while fleeing from his homeland, he was intensely focused on editing the movie, which was being completed in Germany.
Reflecting on his escape, Rasoulof recalls pushing through final edits while on the way to the border. “I remember being in the car as we drove toward the border,” he recounted. “I had my laptop, taking notes, and sending them to my editor. My friends kept insisting, ‘Just put that away for a moment.'”
At Cannes, “The Seed of the Sacred Fig” garnered a special jury prize, and Rasoulof was met with an enthusiastic 13-minute standing ovation. Critics have since recognized the film as one of the standout works of the year, drawing praise for its daring content.
Rasoulof filmed “Sacred Fig” covertly in Iran, directing scenes from a different location to maintain secrecy. The movie’s narrative, a heart-wrenching family drama unfolding during the 2022 protests in Iran, could have profound implications for Rasoulof’s already-imposed prison sentence.
So, how does he feel after all that he has endured this year? In a recent interview, he offered a simple shrug, stating, “Ordinary.” At 52, Rasoulof possesses a calm demeanor that contrasts significantly with the intensity of his films, leaving many to wonder how he can feel anything close to “ordinary,” given this tumultuous chapter of his life.
“I still don’t fully understand the meaning of exile,” he shared. “It might take a while to really sink in. The void it brings hasn’t truly impacted me yet; perhaps it never will.”
Since his escape from Iran, Rasoulof has attended several film festivals, connecting with others in the industry. He and his daughter attended the Telluride festival in Colorado just last month, with many more festival appearances on the horizon. This whirlwind of activity has allowed him to immerse himself in the film community he has long cherished.
“Perhaps I am inhabiting the world of cinema, and that’s why everything feels so familiar to me,” he acknowledged. “Maybe that’s why I don’t perceive it as exile.”
“The Seed of the Sacred Fig” is currently being screened in theaters and serves as Germany’s submission for the Oscars. Settled with his family, Rasoulof expresses his gratitude for the welcoming nature of his new home. Speaking through an interpreter, he acknowledges that he may always have a mental preparedness to return to Iran if an opportunity arises, though the definition of “home” itself has evolved for him.
“I could redefine what home means to me,” he stated. Walking through the streets, he observes people of diverse backgrounds, all claiming the same place as their home, which inspires him with the possibility of constructing a new sense of belonging.
At its core, “The Seed of the Sacred Fig” delves into how oppressive political dynamics can infiltrate the family unit. The film centers on a family of four: Iman, a lawyer recently appointed to the Revolutionary Court in Tehran; his spouse Najmeh; and their two daughters, Rezvan and Sana.
As Iman finds pride in his new role, the government’s crackdown on citizens following the death of Mahsa Amini creates a rift between him and his daughters. When Iman’s gun mysteriously disappears, suspicion falls on his family. The film incorporates real protest cell phone footage, creating a painful microcosm of Iranian society.
“It wasn’t a matter of me inserting those videos into the film; they naturally emerged,” Rasoulof noted. “It was through those clips I comprehended the reality of the events. During the Woman, Life, Freedom movement, I was imprisoned.”
Rasoulof has faced multiple stints in Tehran’s infamous Evin Prison. He was arrested in 2010 while shooting without a permit and spent seven months jailed in 2022 while advocating for the release of fellow filmmaker Jafar Panahi, who was imprisoned for secretly creating a film. Panahi was released only after initiating a hunger strike in 2023.
“My windows overlooked the hills where Evin prison is situated,” says Rasoulof. “I was acutely aware that many of my friends were confined behind those walls.”
Motivated by the bravery of the younger generation, Rasoulof infused that same spirit into “The Seed of the Sacred Fig.” Although he decided to flee only after his appeal for a reduced sentence was denied, he admits that making this film effectively sealed his fate.
“Creating this film was part of my decision-making process,” he reflected. “I had contemplated leaving long before, but the weight of that decision was bitter; I repeatedly denied and postponed it, longing for a miracle that would allow me to stay.”
“I often checked the fridge to ensure nothing would perish,” he further noted. “It was a peculiar situation.”
For those involved in the film, taking part in the project meant accepting a shared risk. Each member of the cast and crew was aware of the consequences, and many, like Rasoulof, have also exited Iran. Both actresses Rostami and Maleki have since relocated to Germany as well. When asked if his collaborators were safe, he grimly responded, “No one is safe from the Islamic Republic.”
In this new phase of his life, Rasoulof enjoys freedoms that were denied to him in Iran. His films, which are universally accessible outside of Iran, are often censored at home. His acclaimed 2020 drama “There Is No Evil,” which tackled issues of capital punishment, is banned in his homeland, though ironically, his guards found enjoyment in watching it with him from a flash drive.
“I haven’t had the chance to see most of my films on the big screen, especially my latest one,” he lamented. “I really want the opportunity to view ‘There Is No Evil’ in a theater. A festival in Portugal has promised I’ll be able to watch it soon.”
The title of Rasoulof’s film reflects his memories of a historic fig tree he once encountered on an island in southern Iran, a poignant metaphor for the Iranian regime. This tree spreads its seeds upon other trees, leading to their demise as it thrives in their place.
Rasoulof showed a photo on his phone of his Tehran apartment. Outside a large window, one can see the walls of Evin Prison on a challenging hillside, and inside his home, various houseplants thrive.
“This was my home,” he remarked fondly. “I had many plants, and I miss them dearly. A neighbor is helping me take care of them. Interestingly, I have a fig tree back at my place.”