Director of the film “Seeds of the Sacred Fig” Mohammad Rasoulof on Iran

Iranian film director and dissident Mohammad Rasoulof fled to Europe in May after being sentenced to prison and flogging by Iranian authorities for making his latest film, “Seeds of the Sacred Fig,” which won the Special Jury Prize at Cannes.

Now he heads to Locarno to screen his moving drama — the story of an investigative judge at Tehran’s Revolutionary Court who grapples with distrust and paranoia in the face of escalating anti-government protests and the devastation of his family life — at the Piazza Grande, home to the 8,000-seat Swiss Festival.

Rasoulof answered questions from Diversity about adapting to life in Europe and how he now perceives his country from the outside.

You recently left Iran with a heavy heart. How did you adjust to life in Europe (Germany, I think)?

For many years, I focused on life in Iran. I wanted to tell stories in my films that were necessary to tell them from the heart of Iran. Tolerating the ban on work, the ban on leaving the country, the interrogations, the difficult conditions of making films underground and going to prison… all these pressures were part of a long journey. Prison gave me the opportunity to reflect on all of this. After being released, I knew that soon I would receive a new sentence from the court and would have to go back to prison. However, before the verdict, in a courageous decision, I started shooting “The Seed of the Sacred Fig”. Halfway through filming, the verdict was announced, and just a few days after filming ended, I learned of the final decision – an eight-year prison sentence handed down by the Court of Appeal. As a filmmaker, I had to choose between continuing to make my films or seeing myself as a victim and going back to prison. This decision gave me the strength to leave Iran. I knew that it could be a long journey. Now I feel like I’m on a long business trip with unfinished tasks that need my attention. Outside of Iran, I have many good friends and great hopes that motivate me to put in more effort.

Could you describe the minor editing tweaks that I believe you made to The Seeds of the Sacred Fig Tree since it screened in Cannes?

There are no significant changes. Only compression and a few technical improvements were needed.

Are you looking forward to screening a film at Piazza Grande, the largest open-air venue 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 Foreign Film. I am excited to see the film at the Piazza Grande. In 2002, I attended the Locarno Festival with my debut film and I had the opportunity to see Fellini’s film on the Piazza Grande screen. I will never forget the joy of watching it there. After 22 years, I am back. I am really excited to see my film on this big screen with an audience of over 8,000 people. I hope it will not rain on the night of the screening!

Are you happy that the film has been sold all over the world, including to 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 fully professional team with a full understanding of the journey that lies ahead of the film, is very exciting. It is a pleasure to work with them.

I am planning to travel to the United States for film screenings. However, since I still do not have a passport and have to travel with documents provided by the city of Hamburg, I wonder if I will be able to travel outside of Europe.

What do you think about the recent election in Iran of reformist politician Masoud Pezeshkian? Do you think anything will change as a result??

At the heart of its power, the Islamic Republic is vulnerable and unstable, lacking legitimacy and popularity among most people. For decades, they have ruled Iran with brutal repression that has relied on fomenting crises for survival. But these crises have accumulated over time. Unforeseen events, such as the Women’s Life Freedom movement and the courageous quest for women to demand their rights, have confounded the analyses of those in power. After the fall of the Raisi government—which was the concrete embodiment of the ignorance and inefficiency of the Islamic system—they needed options to give themselves enough time to recover. Pezeshkian’s government is the vehicle for overcoming these crises. They know that the Iranian president does not play a significant role in determining domestic and international macroeconomic policy; if they did, other governments before Pezeshkian’s government would have also sought to change the path before Iran.

When we last spoke, you said you didn’t think the Iranian regime “was in a state or situation where it would survive for long, and that the international community should stop being so soft on it and not allow it to continue to hold its people hostage.” Do you still think the current regime won’t survive for long? Also, do you think/hope your film will help put more pressure on Iran?

Above all, I hope for changes in Iranian society and to question those who consciously or unconsciously serve the ruling power. Experience has shown me that my films eventually reach the Iranian audience. On the other hand, my films reflect my commitment to presenting a realistic picture of the era I live in, despite the extensive censorship and repression in Iran.