Iranian dissident director Mohammad Rasoulof fled to Europe in May after being sentenced to prison and flogging by the country's authorities over his latest film, “The Sacred Fig Seed,” which won the Special Jury Prize at the Cannes Film Festival.
Now he travels to Locarno to stage his powerful drama — about a magistrate in Tehran’s Revolutionary Court who struggles with mistrust and suspicion as anti-government protests intensify and destroy his family life — in the Swiss festival’s 8,000-seat Piazza Grande.
Rasoulof answered questions from diverse About adjusting to life in Europe and how he currently sees his country from the outside.
You recently left Iran with a heavy heart. How did you adjust to life in Europe (I think Germany)?
My focus has been on living in Iran for many years. I wanted to tell stories in my films that needed to be told from the heart of Iran. Enduring the ban on working, being banned from leaving the country, interrogations, the difficult conditions of making films underground, going to prison… all these pressures were part of a long journey. Prison provided me with an opportunity to reflect on all of this. After my release, I knew that I would soon receive a new court ruling and would have to return to prison. However, before the ruling was issued, and in a bold decision, I started filming “The Seed of the Sacred Fig.” In the middle of filming, the ruling was announced, and a few days after filming was completed, I learned the final decision – an eight-year prison sentence from the appeals court. As a filmmaker, I had to choose between continuing to make my films or seeing myself as a victim and returning to prison. This decision gave me the strength to leave Iran. I knew it would be a long journey. Now I feel like I am on a long business trip with unfinished tasks that require my attention. Outside Iran, I have many good friends and high hopes that motivate me to do more.
Can you describe the minor edits I think you've made to The Sacred Fig Seed since its Cannes screening?
No major changes. All that was needed was compression and some technical improvements.
Are you excited to screen the film in Piazza Grande, the largest open square in Europe?
After its premiere at the Cannes Film Festival, the film was screened at the Sydney Film Festival, where it won the Audience Award for Best International Film. I am very happy to have the opportunity to see the film in Piazza Grande. In 2002, I went to the Locarno Festival with my first film, and I had the opportunity to see a Fellini film on the Piazza Grande screen. I will never forget the joy of seeing that film there. After 22 years, I will be back. I am really excited to see my film on that big screen with an audience of over 8,000 people. I hope it doesn’t rain on the night of the screening!
Are you happy that the film has been sold worldwide, including Neon in the US? Will you be traveling to the US to promote it?
Film distributors in Europe, especially Films Boutique and Parallel 45, have a deep and precise understanding of this type of cinema. On the other hand, working with a distributor like Neon, a completely professional team with a complete understanding of the film process, is very exciting. It is a pleasure to work with them.
I am planning to travel to the US for film screenings. But since I still don't have a passport and have to travel with the documents I got with the help of the city of Hamburg, I am wondering if I can travel outside of Europe.
What do you think of the recent elections in Iran, in which reformist politician Masoud Pezeshkian won? Do you think anything will change as a result??
At the core of its power, the Islamic Republic is weak and unstable, lacking legitimacy and popularity among the majority of the people. For decades, they have ruled Iran through brutal repression, relying on provoking crises for its survival. However, these crises accumulate over time. Unexpected events such as the Women’s Freedom Movement and the courageous pursuit of women to demand their rights have disrupted the analysis of those in power. After the collapse of Raisi’s government—which was a tangible embodiment of the Islamic regime’s ignorance and incompetence—they needed an option to find time to recover. The Pezeshkian government is a tool to overcome these crises. They know that Iran’s president has little say in determining overall domestic and international policies; if that were the case, other governments that preceded Pezeshkian’s government would have also wanted to change the course for Iran.
The last time we spoke you said that you didn’t think the Iranian regime was “in a position or condition to survive for long, and that the international community should stop tolerating them and not allow them to continue holding their own people hostage.” Do you still think the current regime won’t last long? And do you think/hope that your film will help increase pressure on Iran?
My main hope is to bring about changes within Iranian society and to question those who serve the ruling power, knowingly or unknowingly. Experience has shown me that my films ultimately reach their Iranian audience. On the other hand, my films reflect my commitment to portraying a realistic picture of the era in which I live despite the widespread censorship and repression in Iran.
