European Film Awards 2024: Mohammad Rasoulof on THE SEED OF THE SACRED FIG, Political Cinema, Censorship, and Artistic Resilience

The political thriller The Seed of the Sacred Fig by Iranian filmmaker Mohammad Rasoulof won a Special Award at the 2024 Cannes Film Festival.

The director shot the film in a clandestine manner and remotely. Before the film’s premiere, Rasoulof was sentenced to eight years in prison by Iranian authorities. He successfully fled to Germany.

The film has since been selected as Germany’s entry for Best International Feature Film at the 97th Academy Awards. It was nominated in the categories of European Film, European Screenwriter, and European Director at the 2024 European Film Awards. 

Ahead of the awards ceremony, Rasoulof spoke with Screen Anarchy. “I don’t think I’ve quite come to terms with exile yet,” he said. “I’ve been traveling constantly, accompanying the film and watching it with audiences in many countries. It’s been a privilege to share this work, but I think I’ll really need some quiet time before I can start to grapple with what it all means.”

This sense of dislocation is not new for Rasoulof, whose films have often faced opposition from the Iranian government. His current circumstances, however, marked by forced exile, feel particularly acute. While the film has garnered international recognition, the personal cost of exile remains significant.

For Rasoulof, exile represents more than physical displacement—it is also an emotional and psychological burden. “It’s not something I dwell on too much,” he explained. “I try to focus on what’s within my grasp, what I can control. And for me, that’s my work. That’s where I put my energy.”

Despite the acclaim The Seed of the Sacred Fig has received, its release has had serious repercussions for its cast and crew, who remain in Iran. “When the news of the film first came out, my cast and crew were subjected to an enormous amount of pressure,” Rasoulof revealed. “They were interrogated for days and faced various forms of repression.”

The film’s production coincided with a period of significant political upheaval in Iran, marked by escalating regional conflicts and leadership changes. Rasoulof highlighted the irony of the regime’s priorities during these crises. “This is a country embroiled in crises—a president dies, there’s war escalating—and yet the regime still finds the time to target women and artists,” he said.

The cast and crew of The Seed of the Sacred Fig exhibited considerable resolve in bringing the film to life under such challenging conditions. “Everyone involved in this film understood the risks,” Rasoulof said. “And yet they chose to stand by their work, to bring this story to life. That kind of bravery is humbling, and it reminds me why I continue to do what I do, no matter how difficult it gets.”

The film examines the struggles and moral dilemmas faced by ordinary individuals. “This is not a story about leaders or major political movements,” Rasoulof explained. “It’s about the average person—their choices, their responsibilities, their actions. It’s about the small decisions we make every day that, in their own way, contribute to the world we live in.”

The narrative illustrates how social and political systems often overwhelm individuals, creating immense pressure to conform. “These systems are designed to submerge people,” Rasoulof said. “They drown you in expectations, rules, and fear until resistance feels impossible. Some people might have the strength to push back harder, but many are simply trying to survive. That’s the reality I wanted to capture.”

For Rasoulof, cinema is inherently political. “Everything is political,” he stated. “Even the choice to ignore political issues is, in itself, a political act. It’s a decision that consigns power to those already in control.”

While his films often address the impact of power systems on individuals, Rasoulof clarified that not all art needs to explicitly address political topics. “Politics is just one facet of humanity,” he said. “Artists should feel free to explore any subject in the world, in any way they’re interested in.”

Although he advocates for creative freedom, Rasoulof acknowledges that art can serve as a form of resistance. “Art is about truth,” he said. “Whether it’s a political truth, an emotional truth, or something else entirely, the act of creating and sharing that truth is powerful. It reminds us of what it means to be human, even in the face of systems that try to strip that away.”

Rasoulof also sees resilience in a new generation of Iranian filmmakers working under strict censorship. “I am deeply touched by these young Iranian filmmakers,” he said. “They are creating beauty out of darkness, making films in the shadows of repression. Their work is not just a testament to their creativity but also to their courage.”

These filmmakers have found innovative ways to navigate censorship while maintaining the integrity of their stories. “Even within the framework of Iranian cinema, where films are subject to increasingly severe censorship, they still manage to push boundaries,” Rasoulof noted. “They find ways to tell their stories without completely submitting to the restrictions.”

While he admires their ingenuity, Rasoulof does not romanticize the restrictions. “I don’t think restrictions are a good thing,” he said. “Yes, they can spur creativity, but that creativity comes at a great cost. It’s not something to celebrate—it’s something to resist.”

In exile, Rasoulof has remained creatively active, developing multiple new projects. “I have three or four scripts that are ready to go,” he said. “I’ve been writing them on airplanes, in hotel rooms—wherever I can find a moment to work.”

Among these is an animated film centered on an Iranian playwright. “It’s a story I’ve been deeply attached to for years,” he explained. “The animation format allows for a different kind of storytelling, one that’s rich in symbolism and imagination.”

Rasoulof is also working on a mini-series, though details remain under wraps. “The mini-series format allows for a much broader exploration of themes and characters,” he said. “It’s a medium I’ve been eager to explore for some time.”

While the path to realizing these projects may be challenging, Rasoulof is optimistic about their impact. “Each of these stories is important to me, and I believe they have something valuable to say,” he said. “They’re not just about where I’ve been—they’re about where I want to go.”

Cover image (c) European Film Academy