The Underground Current of Iranian Cinema with Mohammad Rasoulof at Cannes 2024

Iranian cinema is looking forward to the presence and screening of a new film by one of its symbolic figures, Mohammad Rasoulof, at the Cannes Film Festival, which will unfold its famous red carpet next week in this pleasant coastal city in southern France. Since the Cannes Festival unexpectedly added Rasoulof's film "The Fig Tree of Temples" to its list of accepted works in the competition section of the 77th edition, attention has been drawn not only among followers of cinematic developments but also among observers of current events in Iran to see the outcome of this film's presence at one of the world's most prestigious annual cinematic events and the reactions to it. The release of the plot summary and images from "The Fig Tree of Temples" indicated that Mohammad Rasoulof continues his previous path in cinema, which involves creating critical works with less-discussed themes from Iranian society, showcasing the confrontation between individuals committed to universal principles and values against a repressive and corrupt structure. "The Fig Tree of Temples" tells the story of a Tehran revolutionary court judge who, amid escalating nationwide protests, becomes suspicious and paranoid even towards his wife and young daughters after losing his weapon. Based on the released images from the film, "The Fig Tree of Temples" is the latest work made inside Iran without adhering to government censorship, including the mandatory hijab for female actors. The underground and unofficial cinema movement in Iran has become significantly stronger since the protests of 1401 (2022) and has turned into the main representative of Iranian cinema at important and prestigious global festivals. The list of films from this movement that have been screened at various festivals and, in some cases, won significant awards has surpassed ten films, effectively sidelining the official and licensed Iranian cinema in terms of international presence. It was not difficult to predict that Mohammad Rasoulof, as one of the pioneers and symbols of the resistance and critical cinema in Iran, would continue to be active in this path. This has occurred while Mr. Rasoulof has faced numerous judicial and security restrictions over the years, including a ban on leaving the country and normal cinematic activities. Nevertheless, just a few months after his release from prison, he is presenting a new film at the highest competitive level of world cinema. Mohammad Rasoulof, following in the footsteps of Abbas Kiarostami, Asghar Farhadi, Jafar Panahi, Mohsen Makhmalbaf, Samira Makhmalbaf, Nasser Taghvaei, Abolhassan Jalili, and Saeed Roustayi, is the latest director emerging from Iranian cinema to experience participation in the Cannes competition section and compete for the Palme d'Or. This year, he competes against celebrated names such as Francis Ford Coppola, David Cronenberg, Jacques Audiard, Yorgos Lanthimos, Sean Baker, and Paolo Sorrentino for the Palme d'Or. The issuance of a multi-year prison sentence along with lashes and asset confiscation for Mohammad Rasoulof, confirmed in the appeals court, alongside the summons of the crew of his new film and their travel bans, indicates the furious reaction of judicial and security authorities to the making of "The Fig Tree of Temples" without obtaining permits and government censorship and its screening at Cannes. In such circumstances, which of the crew members will have the opportunity to attend the Cannes Festival and the red carpet event remains uncertain. According to the Cannes Festival officials, "The Fig Tree of Temples" will be screened on the last day of the competition films and one day before the closing ceremony. While "The Fig Tree of Temples" participates in Cannes without government permits, many Iranian films applying for this year's festival faced similar conditions of not receiving government permits. Mr. Haqiqat, a writer and cinema expert, who has attended Cannes as a journalist since 1981 and was an advisor for selecting Iranian films during Gilles Jacob's management of the festival, stated that he has seen about 30 Iranian films applying for Cannes 2024, many of which were made disregarding the censorship regulations of the Islamic Republic and government permits. Mohammad Haqiqat has recently published a book titled "Secrets and Lies at the Cannes Festival" in France, which includes his memories from four decades of attending this festival and the process of selecting and screening Iranian films. This year, in addition to Mohammad Rasoulof, Ali Abbasi's film "The Intern," a Danish-based Iranian filmmaker, will also be screened in the competition section of Cannes. Mr. Abbasi made headlines two years ago with his film "Holy Spider" at Cannes. His new film, which is about a period in Donald Trump's youth, is expected to attract media attention similar to "Holy Spider." The Independent Filmmakers Association of Iran, an organization composed of critical and opposition filmmakers, will also participate in the Cannes market section, showcasing films including the feature film "Depth of Night" directed by Farhad Wilkij and several short films related to the "Women, Life, Freedom" protests. This year, in the non-competitive sections and special screenings of Cannes, new works by renowned filmmakers such as George Miller, Kevin Costner, Rithy Panh, Leos Carax, Claire Simon, and Oliver Stone will also be presented, and Meryl Streep and George Lucas will be honored with honorary Palme d'Or for their lifetime achievements in cinema.