Film review: ‘THE SEED OF THE SACRED FIG’ by Nick Gardener from ‘Built for Speed’
Revered Iranian director Mohammad Rasoulof’s latest film The Seed of the Sacred Fig was made in secret before Rasoulof fled Iran under threat of arrest and imprisonment. He now lives in Germany and this film was Germany’s nominee for best International Feature Oscar. While this mostly riveting film maintains the very high standard of works from Iranian directors that reach our shores, there are some unusual moments that jar slightly and diminish its impact.
A mix of political and family drama, the film is set in Tehran amid the febrile atmosphere of the mass protests that followed the tragic death of Mahsa Amini who was arrested for allegedly not wearing the hijab. In the midst of this volatile situation, lawyer Iman (Missagh Zareh) is making his way up through the ranks of the legal system and hopes to be promoted to the coveted role of judge. At first, this looks like a dream come true for Iman, his wife Najmeh (Soheila Colestani) and their university and high school age daughters Rezvan (Mahsa Rostami) and Sana (Setareh Maleki). He soon discovers, however, that he’s little more than a puppet required to rubber stamp political dissenters’ convictions and in some cases impose death sentences. Because his new role makes him a target for those opposing the regime, he’s required to carry a gun even though he has apparently has little idea how to use it and leaves it lying around at home. Any Chekhov fans will know that the appearance of the gun at the start of the film means it will play a pivotal role later. The situation that unfolds sees Iman’s house submerged in paranoia that mirrors events occuring across Tehran.
The film for the most part employs the thoughtful, sober, realist style typical of recent Iranian films. Much of the focus is on Najmeh’s domestic routine and the way events begin to destabilise her household. Rasoulof also effectively integrates actual footage (taken by Iranians on mobile phones) of the riots and the often-violent police response. As the film progresses and particularly during the finale, it begins to resemble more of a Hollywood thriller or even a western with a confrontation in an abandoned city that looks like a Pueblo town. It’s a slightly uncomfortable transition that seems oddly contrived, something not helped by stylised cat and mouse game that ensues in this part of the film.
While some of the filmmaking ambition is questionable, this is still a potent character study and depiction of the way fear of judgement and punishment under a regime forces people to act against their true nature.
The entire cast are terrific creating believable and complex characters. Missagh Zareh deftly depicts Iman as a person committed to traditional values who tries to be conciliatory and understanding of opposing views but begins to buckle under the weight of the intolerable situation in which he finds himself.
Ultimately, though, this film is about the women and their struggle against misogyny and theocracy. Both Mahsa Rostami and Setareh Maleki are excellent as the precocious but increasingly politically aware daughters. Most impressive though, is Soheila Colestani as the mother caught between loyalty to tradition and empathy with her rebellious daughters.
The film doesn’t always hit the mark but its best scenes, of which there are many, are unforgettable and its message resonates long after we leave the cinema.
Nick’s rating: ****
Genre: Drama.
Classification: M.
Director(s): Mohammad Rasoulof.
Release date: 27th Feb 2025.
Running time: 168 mins.
Reviewer: Nick Gardener can be heard on “Built For Speed” every Friday night from 8-10pm on 88.3 Southern FM.