Rasoulof has been busy traveling from film festival to film festival. In September, he and his 24-year-old daughter attended the Telluride festival in Colorado. Many more such stops were to come. Since fleeing Iran, Rasoulof has effectively been immersed in the world he’s long known: cinema.
“Maybe I am living in the world of cinema, and maybe that’s why things are so familiar,” he agrees. “Maybe that’s why I don’t feel I’m in exile.”
“The Seed of the Sacred Fig,” currently playing in theaters, is the Oscar submission from Rasoulof’s adoptive home, Germany. He’s settled in with his family, grateful for how the country has welcomed him. Speaking through an interpreter, Rasoulof grants that he’ll probably always mentally have a bag packed, ready to return to Iran should the chance ever come. But what “home” constitutes has changed for him.
“I might be able to change this concept of home for myself,” he says. “I walk on the streets here and I see people of different colors and forms from all over the place, and they all call this place home. So there’s always the chance that one can build something new.”
How oppressive politics can infiltrate the home is central to “The Seed of the Sacred Fig.” It concerns a family of four: Iman (Missagh Zareh), a lawyer newly appointed to the Revolutionary Court in Tehran; his wife, Najmeh (Soheila Golestani) and their two daughters, Rezvan (Mahsa Rostami) and Sana (Setareh Maleki).
Iman is proud of his high position, but, when the government crackdown on protesters following the death of Mahsa Amini accelerates, his daughters are increasingly at odds with him. After Iman’s gun goes missing, his wife and daughters turn into suspects. “The Seed of the Sacred Fig,” populated with real cellphone videos from the protests, plays out as an excruciating microcosm of Iranian society.
“It wasn’t like I put those videos in. They just came in,” says Rasoulof. “The reality is that it was through those videos I realized what happened. When the Woman, Life, Freedom movement occurred, I was in prison.”
Rasoulof has spent several spells in Tehran’s Evin Prison. In 2010, he was arrested on set for filming without a permit. In 2022, he was jailed for seven months after pursuing the release of another of Iran’s most prominent filmmakers, Jafar Panahi. Panahi, who secretly made the film “No Bears,” was only released in 2023 after commencing a hunger strike.
“My windows at home opened to the hills that have the Evin prison in them,” says Rasoulof. “I knew behind those walls many of my friends were sitting.”
