The Story of Seeds That Dry Up the Roots of Government in Rasoulof's New Film

The film "The Fig Seeds of Temples" by Mohammad Rasoulof premiered for the first time in the world on Friday afternoon in the competition section of the 77th Cannes Film Festival. It is a highly explicit and gripping film about the inner turmoil of the families of the officials of the Islamic Republic and the institutionalized violence in their thoughts and beliefs, which received enthusiastic applause from the audience after the screening. At the red carpet event for the film "The Fig Seeds of Temples", Mohammad Rasoulof was present along with some of the film's cast, including young actresses Setareh Maleki, Mahsa Rastami, and Niyousha Akhshi, among others. The absence of Soheila Golestani and Misaq Zare, two main actors in the film, was repeatedly acknowledged by Rasoulof by showing their photos. Golshifteh Farahani, an Iranian actress active in French and American cinema, was a special guest at the screening of "The Fig Seeds of Temples". The film tells the story of an investigator at the Tehran Revolutionary Court named Iman, who aspires to become a judge and lead a better life. His wife is devoted to the ideology and narratives of the government, but their two teenage daughters, one in university and the other in high school, face serious doubts about their father's job and his actions as they observe the realities of society. The occurrence of the "Women, Life, Freedom" protests highlights the differing perspectives of the daughters compared to their parents, but the disappearance of the father's weapon and his suspicion of the daughters' involvement in this incident escalates tensions within the family. These tensions lead to the investigator exhibiting some of the actions he takes against prisoners astonishingly towards his own family. Mohammad Rasoulof states that his struggle with the Iranian judicial system inspired his new film. "The Fig Seeds of Temples" depicts the corrupt judicial structure of the Islamic Republic, where advancement is only possible through unquestioning compliance with the orders of higher authorities. At the beginning of the film, the investigator is hesitant about issuing a charge of moharebeh (waging war against God) for a prisoner, but his superiors remind him of his desire to become a judge and discuss the necessity of accepting the prosecutor's demands. The film attempts to immerse the viewer in the tumultuous atmosphere of Iranian society in that year by showcasing real videos of the protests of 1401 (2022). Although this film was made secretly and without permission inside Iran, many moments showcase Mohammad Rasoulof's directorial prowess. The chase scenes in a desert road in Iran are some of the most visually striking moments in the second half of the film, culminating in a breathtaking final sequence that highlights Mr. Rasoulof's abilities. "The Fig Seeds of Temples" is a portrayal of the rooted tensions and turmoil within the components of today's Iran, manifesting in various forms, including the rejection of the government's ideological values. What the daughters in the film demonstrate by questioning their father's patriarchal power in imposing his desires and values is a symbolic reflection of a reality that has been seen in various forms in recent years in Iran. The symbolic ending of the film can be a clear manifestation of Mohammad Rasoulof's remarks at the end of the 12-minute standing ovation from the audience on Friday at the Cannes Film Palace, when he expressed hope that oppression and tyranny in Iran would come to an end. What he has articulated in his latest film is also a symbolic expression of this hope. "The Fig Seeds of Temples" could bring another significant award for Iranian cinema from the prestigious Cannes festival, an award that this time belongs to the completely independent, unofficial, and non-governmental cinema of Iran. Mohammad Rasoulof has stated that he has left Iran and is currently in an "unknown location in Europe."