KT Bonus Edition: Seed of the Sacred Fig (Mohammad Rasoulof, 2024)
Zari Moss weighs in on Rasolouf's latest drama
Seed of the Sacred Fig
Mohammad Rasoulof, 2024
DCP Courtesy: Sharmill Films
Classification: M
Seed of the Sacred Fig is Mohammad Rasoulof’s tenth and most recent film which premiered at the Cannes Film Festival earlier this year. Follow ACMI’s website closely as they pay tribute to the Iranian director with a comprehensive retrospective. The film is slated for a January 23 release in Australia.
Words by Zari Moss
In her writing on the Affective Politics of Fear, Sara Ahmed explores the temporal-bodily relation to fear politic, “fear is felt in the absence of the object that approaches.” The more you are restricted, the smaller your world becomes, the larger space is made for fear to occupy. Mohammad Rasoulof’s latest film The Seed of the Sacred Fig opens with a proverb about its namesake, a species of fig that spreads by wrapping itself around another tree and eventually strangling it. The tree serves as a symbol for Iran’s theocratic regime. Soon after we see the proverb we bear witness to bullets bouncing onto a table in slow motion. Ambitious family man Iman (Missagh Zareh) - which means faith in Farsi and Arabic - has been given a gun. He has recently become a prosecutor for the infamously draconian moral police in Iran. He keeps the gun at home.
Seed of the Sacred Fig is the story of one family facing the fallout of a real-life devastating event. On the 16th of September 2022, 22-year-old Mahsa Amini was arrested by morality police in Tehran for allegedly violating rules requiring women to cover their hair in public. Three days later she died in police custody. “Iran's state coroner attributed her death to pre-existing medical conditions, but a UN human rights expert said the evidence established that she died "as a result of beatings" by morality police.” While there had already been public protests against the country’s mandatory dress code in years before, Mahsa Amini’s death sparked nationwide protests that lasted for months and in which hundreds were killed.
It is just prior to Mahsa Amini’s real-life death and the protests it sparked, that the fictional Iman – husband to Najmeh (Soheila Golestani) and father to Rezvan (Mahsa Rostami) and Sana (Setareh Maleki) – receives his promotion to prosecutor (and ownership of his gun). Even for the law-abiding this is an unpopular role and potentially perilous for the whole family. However, Najmeh is assured that this means the family’s wealth and status will improve. The family live in a pristine but small two-bedroom apartment in Tehran. Sana and Rezvan are in their teens and early twenties and still share a bunk bed. Their world is closed in.
Immediately after beginning his new job, Iman is astounded to discover he is expected to sign off on death-penalty judgements requested by government officials without any consideration of evidence. With the mass protests comes a meteoric rise in arrests. He is forced to work late, signing hundreds of death warrants, and to isolate himself from his friends and family who now are at risk of being doxed or blackmailed. Even as Iman grapples with the hollowness of the justice system he has committed his life to, his pen runs with the blood of those who were not afforded a trial.
Meanwhile, his daughters are disturbed by online videos that document the brutality of police arresting and dragging protestors through the street, many of them young women like themselves. The mainstream news outlets portray the women taking off their hijab in solidarity as criminals. Sana and Rezvan watch from their couch at home while their mother Najmeh is in the background. They text each other furiously becoming increasingly indignant, they don’t let their mother see.
As guilt-ridden, anxious, and exhausted Iman becomes more rigid, his daughters become quietly enraged, and Najmeh mediates between them. Najmeh stows faith in Iman’s career progression to liberate her from the drudgery that accompanies the honour of being such a nurturing wife. Lengthy scenes depict Najmeh preparing elaborate dinners that Iman is too overworked to come home for. But Najmeh grew up in pre-revolutionary Iran, with a drunk and irresponsible father, so can see moral laws that might seem severe to western societies, such as the banning of alcohol, as warranted. She remains faithful to Iman; she holds onto the promise of a larger apartment and the possibility of being able to afford a dishwasher. Najmeh frequently puts lotion on her hands, rubbing the back of her hands together first. The reference to Najmeh’s hands and the subsequent physical domestic labour involved, as well as the ritual protection and covering of her hands with dishwashing gloves feel indicative of Najmeh’s role. This is also emblematic of the protective barrier and structural layer from mediating between her daughters and her husband.
And then the government-issued gun Iman was given for protection goes missing. He begins to suspect the women of his family have taken it. Each vehemently denies this, but he can’t trust anyone. Restrained from legitimately practicing prosecution in his workplace, Iman puts his family through a humiliating interrogation, a scene heavy with the image of terror (in the gothic, anticipatory sense), each woman blindfolded and separated and told to write what they know. Rasoulof presents a situation that is as unstable as it is rigid, in the motions of slippage. They remain interdependent - as father, mother, daughter, sister - while a deep mistrust of one another as women and an agent of the government builds. This is part of what makes the depiction so compelling.
When Rezvan’s schoolmate Sadaf seeks refuge in their home after being shot in the face, the camera lingers long over Najmeh plucking shards of shot out of Sadaf’s face, stark and shocking after watching Najmeh’s hands take care of so many banal domestic tasks.This creates a disarming image of the ways in which a volatile political situation transforms care from benign into radical.
The dramatic tension bathes in austere colours and a pace that breathes slow and quiet. Every shot in the first part of the film is taut, stifling, and still. We watch helplessly as the poetics unfold. Most of the film takes place indoors, presumably because it had to be made in secret because Rasoulof was already known to the authorities for repeatedly violating Iranian censorship regulations. This style of cinematography simultaneously works to portray the cloistered existence of the privileged under a repressive regime and heighten the violence of the shaking phone camera footage that is dispersed throughout the film.The film dramatises the progression from fear to feminine rage, a rage born slowly against those in power who seek to extinguish women’s life force. The protests in Mahsa Amini’s name mark an arrival.
WEEKLY FILM LISTINGS
17 Oct - 23 Oct
Notable Screenings & Events
Into the Collection: Cine-Files
Join us at The Capitol for Into the Collection: Cine-Files, an evening dedicated to exploring the history of Melbourne's rich film culture, as pieced together by this year's AFI Research Collection Fellow, Digby Houghton.
22 Oct 2024
06:00 PM - 08:00 PM
The Capitol
Akira Kurosawa Restorations are screening at the below cinemas:
Cinema Nova, Palace, Astor, Moving Story Cinema (Lido, Classic)
Un Projects: Film List: Collection (spell)’: an evening of short films!
Noor Al-Asswad, PS/QA, Under the Lemon Tree (2020)
Takani Clark, (TAS) AU, Elder of Shells (2019)
Rosalind Nashashibi, PS/UK, Electrical Gaza (2015)
Jacqui Shelton, IE/(VIC) AU, Bím Caillte ( 2023)
Friday 18 October, 6 - 9pm
New Releases
Memoir of a Snail
Adam Elliot, 2024
Screening Everywhere
From Hilde, With Love
Andreas Dresen, 2024
Screening at most arthouse screens
Like My Brother
Sal Balharrie, Danielle MacLean, 2024
Screening at most arthouse chains
Cat Video Fest
Will Braden, 2024
Screening everywhere
Focus on Mohammad Rasoulof
Mohammad Rasoulof In Conversation
Screened tonight for free
Iron Island
Mohammad Rasoulof, 2005
Screening Thurs 17 Oct
There is No Evil
Mohammad Rasoulof, 2020
Screening Fri 18 Oct
The White Meadows (کشتزارهای سپید)
Mohammad Rasoulof, 2009
Screening Sat 19 Oct
Goodbye
Mohammad Rasoulof, 2011
Screening Sun 20 Oct
A Man of Integrity (لِرد)
Mohammad Rasoulof, 2017
Screening Sun 20 Oct
Manuscripts Don't Burn (دستنوشتهها نمیسوزند)
Mohammad Rasoulof, 2013
Screening Mon 21 Oct
MIFF Encore Screening
Voice
Krunal Padhiar, Semara Jose, 2024
Screening Sat 19 Oct
Left Write Hook
Shannon Owen, 2024
Screening Sun 20 Oct
ARTIST FILM WORKSHOP
KT RECCOMENDS:
AFW + NFSA #68: ANIMEIGHTIES
8pm Tuesday 29 October
The Brunswick Green, 313/315 Sydney Road, Brunswick.
16mm projection. $10 on the door.
Pleasure Domes, 1988, Maggie Fooke. 8 min
Shadowland, 1988, Anthony Lucas. 6 min
Still Flying, 1989, Robert Stephenson. 8 min
Dance of Death, 1983, Dennis Tupicoff. 9 min
Suburban Windows, 1981, Robert Wyatt. 20 min
Rainbow Diary, 1984, Ivor Cantrill. 17 min
ASTOR CINEMA
Italian FF: Conclave
Edward Berger, 2024
Screening Tonight
Tom Petty: Heartbreakers Beach Party
Cameron Crowe, Doug Dowdle, Phil Savenick, 2024
Screening Thurs, Sat
Rashomon
Akira Kurosawa, 1950
Screening Fri 18 Oct
Cinema Erotica:
Eyes Wide Shut
Stanley Kubrick, 1999
Screening Fri 18 Oct
The Hidden Fortress
Akira Kurosawa, 1958
Screening Sat 19 Oct
Ikiru
Akira Kurosawa, 1952
Screening Sun 20 Oct
Yojimbo
Akira Kurosawa, 1961
Screening Sun 20th
The Substance
Coralie Fargeat, 2024
Screening Mon 21 Oct
Hellraiser
Clive Barker, 1987
Screening Tues 22 Oct
BBBC CINEMA (GALLERYGALLERY BRUNSWICK)
Closed until 2025
100 Years of the Capitol
The Wizard of Oz
Victor Fleming, 1939
+
Cabaret
Bob Fosse, 1972
+
All That Jazz
Bob Fosse, 1979
Screening on Sun 20 Oct
CHINATOWN CINEMA
High Forces
Oxide Chun Pang & Chi-Leung Law
Screening Fri, Sat
Joker: Folie à Duex (Chinese Subs)
Todd Phillips, 2024
Screening Daily
Tiger Wolf Rabbit
Wu Bai, 2024
Screening Daily
Stand by Me
Yin Ruo Xin, 2024
Screening Sun
CINÉ-CLUB (Carlton)
Coming back in some variety soon
No screening this week
Events
Check sites for rep titles
Release
The Apprentice
Ali Abbasi, 2024
Screening Daily
Ghostlight
Alex Thompson, 2024
Screening Daily
The Critic
Craig Armstrong, 2024
Screening Daily
Megalopolis
Francis Ford Coppola, 2024
Screening Daily
The Substance
Coralie Fargeat, 2024
Screening Daily
Bonnard, Pierre and Marthe
Maurice Pialat, 2023
Screening Daily
Kneecap
Rich Peppiatt, 2023
Screening Daily
I Saw the TV Glow
Jane Schoenbrun, 2023
Screening Thurs
Strange Darling
Jacqueline Lentzou, 2024
Screening Daily
Longlegs
Graham Verchere, 2024
Screening Daily
How to Make Millions Before Grandma Dies
Liu Jia, 2024
Screening Daily
Kinds of Kindness
Yorgos Lanthimos, 2024
Screening Daily
La Chimera
Alice Rohrwacher, 2023
Screening Daily
DOGMILK DEGUSTATIONS: @ Miscellania
Coming back kinda soon
EXPERIMENTAL FILM CLUB
Listings coming soon
Done for now, will return soon
GAY24 (Bar Flippy’s)
Halloween screening week after next!
HITLIST (9 Gertrude St, Fitzroy)
Shut for now
LIDO / CLASSIC / CAMEO
Events
Check sites for rep titles
General Release
The Apprentice
Ali Abbasi, 2024
Screening Daily
A Different Man
Aaron Schimberg, 2024
Screening Daily
Joker: Folie à Duex
Todd Phillips, 2024
Screening Daily
The Critic
Craig Armstrong, 2024
Screening Daily
Megalopolis
Francis Ford Coppola, 2024
Screening Daily
The Substance
Coralie Fargeat, 2024
Screening Daily
My Old Ass
Megan Park, 2024
Screening Daily
Last Summer
Catherine Breillet, 2023
Screening Daily
Kneecap
Rich Peppiatt, 2023
Screening Daily
I Saw the TV Glow
Jane Schoenbrun, 2023
Screening Thurs
Alien: Romulus
Fede Álvarez, 2024
Screening Daily
Strange Darling
Jacqueline Lentzou, 2024
Screening Daily
OVA CLUB
No screening this week
THE MELBOURNE CINÉMATHÈQUE (ACMI)
The Magic City
Nikos Koundouros, 1954
Screening Wednesday 23 Oct 7:00pm
+
1922
Nikos Koundouros, 1978
Screening Wednesday 23 Oct 8:35pm
TOP OF THE HEAP (Tramway Hotel)
No screening this week
No screening this week
MELBOURNE UNIVERSITY: SCREENING IDEAS
Showing Up
Kelly Reichardt, 2022
Screening Mon 21 Oct
Forum Theatre (Room 153), Arts West, the University of Melbourne
PALACE BALWYN / BRIGHTON / COMO / KINO / PENTRIDGE / MOONEE PONDS / WESTGARTH
St Ali Italian Film Festival
Tix and info available here!
General Release
The Apprentice
Ali Abbasi, 2024
Screening Daily
Joker: Folie à Duex
Todd Phillips, 2024
Screening Daily
The Critic
Craig Armstrong, 2024
Screening daily
The Substance
Coralie Fargeat, 2024
Screening Daily
A Difficult Year
Olivier Nakache & Éric Toledano
Screening Daily
Megalopolis
Francis Ford Coppola, 2024
Screening Daily
My Old Ass
Megan Park, 2024
Screening Daily
Bonnard, Pierre and Marthe
Maurice Pialat, 2023
Screening Daily
No screening this week
No listings this week / click link above to see what’s on (their site too hard to list)
Memoir of a Snail
Adam Elliot, 2024
Screening Daily
The Substance
Coralie Fargeat, 2024
Screening Fri
Your Fat Friend
Jeanie Finlay, 2023
Screening Sat 19
The Apprentice
Ali Abbasi, 2024
Screening Sun 20, Tues 22 and Wed 23
Like My Brother
Sal Balharrie, Danielle MacLean, 2024
Screening Sun 20
Joker: Folie à Duex
Todd Phillips, 2024
Screening Wed 23
Kneecap
Rich Peppiatt, 2023
Screening Mon 21
Your Fat Friend + Q and A
Jeanie Finlay, 2023
Screening Sat, Sun & Tue
UNKNOWN PLEASURES @ Thornbury Picture House
No screening this week
Rasoulof's film was one of only a handful I saw at the SFF. It was followed by an ovation the like of which I have never known at a local festival...minutes long by an audience that was totally gripped by the Film. The one and only masterpiece I've seen this year...