Interview: Mohammad Rasoulof on Filming ‘The Seed of the Sacred Fig’ in Secret and Defying Oppression [VIDEO]
Writer and director Mohammad Rasoulof has built a reputation for his fearless approach to filmmaking, consistently challenging censorship and oppression in Iran. His latest project, The Seed of the Sacred Fig, continues this tradition. The film weaves a complex narrative around Iman, who is recently appointed an investigative judge in Tehran, and his daughters, who are actively involved in the “Women, Life, Freedom” movement. Through the symbolic use of the sacred fig tree and richly layered metaphors, Rasoulof delivers a poignant tale of awakening and resistance.
When I spoke with Rasoulof (video below), who communicated via a translator, he talked about the immense challenges he faced while creating the film in total secrecy. “The Women, Life, Freedom movement is the underlying context of the story, enabling us through its prism to get to know the characters better,” he explained. This movement, which has gained global attention for its fight against systemic gender inequality and injustice in Iran, serves as the film’s emotional and political heartbeat.
Rasoulof elaborated on the intense atmosphere on set, where secrecy was paramount to avoid government detection. “Being subjected to the constant stress and fear made me try to zoom down and maintain my focus as a director as much as I could, and it was really difficult,” he shared. The danger was omnipresent. “We were in constant fear that they would find us and stop the film,” he said. Despite these risks, Rasoulof highlighted the unwavering solidarity within his cast and crew. “The cast and crew were really good about calming each other down,” he noted, emphasizing the collective courage required to see the project through.
The challenges didn’t end with filming. Rasoulof faced significant hurdles in fleeing Iran and ensuring the film’s premiere at the Cannes Film Festival, where the film was honored with a Special Jury Prize. “I had no choice but to leave Iran,” he revealed, referencing the government’s crackdown on dissenting artists. The film’s Cannes debut, however, was a bittersweet moment. “It was an exceptional reception, and I don’t think I will ever forget the way we were welcomed in Cannes,” he said. But the absence of his collaborators weighed heavily on him. “On one hand, I was delighted to be there; on the other hand, I was so upset because all my collaborators should have been there with me,” he reflected. “I was laughing in one eye and crying in another.”
Rasoulof also discussed the thematic depth of his film, touching on its metaphors and the challenges his team faced when news of the premiere broke. He explained why he continues to take such extraordinary risks, despite the personal and professional cost. As for what’s next, Rasoulof remains undeterred, hinting at future projects that will further shine a light on injustice and amplify the voices of the oppressed.
The Seed of the Sacred Fig stands as a testament to Rasoulof’s resilience and artistry, a film born from peril but crafted with passion and conviction. It’s a gripping reminder of the power of storytelling in the face of adversity.
The Seed of the Sacred Fig will be released in theaters November 27 from NEON.
- Interview: John Lithgow on ‘Conclave’ Being a Career Highlight, Oscar Buzz and Comparing Director Edward Berger to David Lean [VIDEO] - November 22, 2024
- Interview: Saoirse Ronan on Addiction, Recovery, and ‘The Outrun’ [VIDEO] - November 21, 2024
- Interview: Mohammad Rasoulof on Filming ‘The Seed of the Sacred Fig’ in Secret and Defying Oppression [VIDEO] - November 18, 2024
2025 Oscar Predictions: FILM EDITING, CINEMATOGRAPHY, COSTUME DESIGN, PRODUCTION DESIGN (December) 
2025 Oscar Predictions: MAKEUP & HAIRSTYLING, ORIGINAL SCORE, ORIGINAL SONG, SOUND, VISUAL EFFECTS (December) 
Interview: Director Robert Eggers (‘Nosferatu’) on the Consequences of Temptation, Training Hundreds of Rats, and Playing with Vampire Lore 
Interview: Guy Pearce on the Beauty and Violence of ‘The Brutalist’ and Van Buren’s Call to His Therapist