The Seed of the Sacred Fig
The Seed of the Sacred Fig
The second project of Iranian filmmaker Mohammed Rasolouf after 2020’s international acclaim There Is No Evil, The Seed of the Sacred Fig echoes the themes of helplessness and innocent victims, even children, of countless revolutions. To this end, he aims a shot at the pronounced barbarism of the regime, but can embellish weapons of class struggle, a domination of the femininity’s sociology and most importantly oppressive Iranian culture.
At the beginning of the story, the reality feel effectiveness when the state’s investigator, Iman (Missagh Zareh) and his wife Najmeh (Soheila Golestani) are on a relief; though thirteen percent of Iman’s promotion says and the joy in being one of them is fresh. Disturbance is what he also gets as Iman’s satisfaction at the government’s enforced hijab laws was shortlived, as the country witnessed protests and subsequent brutal suppression of the same. Now, Iman has many requests for execution of those taken into capture, especially for the hungers radical youth, while john also, attempting to manage revolting teen Rezvan (Mahsa Rostami) and Sana (Setareh Maleki) who in turn also is getting senseless internet rush as violent protests against oppressive regimes.
It is common for Rasolouf to approach his subjects in a straightforward manner by depicting conversations in a family setting. Fallujah comprises a very sophisticated plot while still standing its course. The film incorporates real footage of the unrest in Tehran, which raises the stakes in whatever is being discussed, a decision that though effective is likely to suggest that the narrative of the film takes both a secondary place and a radical shift.
As much as this 165-minute fact- fiction epic’s sermonizing tone makes one wish for DIFD the American kind of drama is polite and in fact by American standards pretty. In this way, the script tries to dump some of the excessive angst and restraint that Rezvan’s character has in terms of her ideals about eradicating injustice and hints at some of her privilege and innocence from being younger. Where in this diagram lies Iman’s heart, or what type of heart does he have? He is in part sympathetic, driven as much by a certain type of female hating male privilege and narrow minded conservative values as by pure fear and humiliation.
Throughout the film, the physical toll that Iman’s job takes on his body is quite central and it shows that he is also one of the victims of the regime’s injustice. However, this elder man’s weariness is also in stark contrast, with the apocalyptic mutilation experienced by Rezvan and Sana’s little friend Sadaf at the hand of zealous heavily armed policemen. Iman still has compassionate emotions towards things and his crude activities make him restless and lose sleep, and make him paranoid, but he is always calm despite the sedative orders from the government. Then, once a colleague presents him a gun due to balancing on a knife-edge of state authority where now state agents become legitimately lethal targets due to aggressors, things would follow through that culminate in a complete drastic turn in the tonal and structural aspects of the latter part of the movie.
By making visible unspoken physical assault and the family’s internal confrontations, the steady unraveling of its oppressed head of the family allows The Seed of the Sacred Fig’s last sixty minutes to not only overstep generic action-thriller boundaries but to even smash through them completely. And in the end, the outcome is of such a nature that the jealousy of Nadia will take her somewhere, in theory at least, which is not too far from the Overlook Hotel in The Shining.
The sudden change in the film is so radical that it justifies Iman’s uncharacteristic behaviour as well as the talents of his daughter that have never been exhibited before. Only it does not help matters with respect to supplanting Rasolouf’s vision. In The Seed of the Sacred Fig, however, the functions of the primary family are extended in a sense that they are assimilated as different, active, conflict-bearer individuals and their socio-psychological group, as well as incorporating modern Iranian societal elements, acting as a metaphor of the abuse of women throughout Iran’s history. It seems in a way that Rasolouf has tried to tackle too many issues even trying to get theocratic walls collapsed with different positions like a madman.
The final battle is set up distant from the city, against the backdrop of the ruins of ancient Iran’s lost civilization. Director also seeks symbolism – which works almost flawlessly in its willingness however is somewhat out of place at the end of a plot that has mostly been told in a more linear narrative. Thus a the second part of The Seed of the Sacred Fig raisies directly the issues to the stated positions of the character and the context – this could reasonably be assumed as per sure about the extreme aggressiveness of certain characters in attempting to dissuade why the government does what it does. But Rasolouf’s decision to create and finally even use such a heavy-handed weapon is interesting to watch for the most part, however, it makes the piece less good in a visual artistic sense.
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- Genre: Crime, Drama
- Country: United States
- Director: Mohammad Rasoulof
- Cast: Soheila Golestani, Mahsa Rostami, Setareh Maleki, Missagh Zareh, Shiva Ordooie, Niousha Akhshi
