THE STORY – Investigating judge Iman grapples with paranoia amid political unrest in Tehran. When his gun vanishes, he suspects his wife and daughters, imposing draconian measures that strain family ties as societal rules crumble.
THE CAST – Soheila Golestani, Missagh Zareh, Mahsa Rostami, Setareh Maleki, Niousha Akhshi & Amineh Arani
THE TEAM – Mohammad Rasoulof (Director/Writer)
THE RUNNING TIME – 108 Minutes
It’s easy to see how art can be used to make profound statements about the world we exist within. Many, of course, may only value this medium for its sense of escape from the horrors that plague reality. Those are indeed treasured arenas of bliss that have their own value. However, many artists witness the injustices and atrocities committed and feel compelled to respond. Taking up any form of artistry is so powerful because of the immediate empathy that can be fostered through such acts. It appeals to a deeply resonant perspective, touching individuals on a level that is sure to be responsive. In doing so, not only can a person be moved by the story but also experience an illuminating revelation about the complicated dynamics of the world. “The Seed of the Sacred Fig” exposes the insidious factions that collude to oppress dissent against corruption and how far the rot can truly fester. It’s a striking portrait that is compelling while also struggling to carry that momentum consistently toward the end.
Political unrest is in a heightened state in modern Tehran, with the authoritative government constantly at odds with the masses. A new, strict enforcement of laws forcing women to wear hijabs in public is sparking national protests that are being met with violence. Iman (Missagh Zareh) is a lawyer who has just been promoted to an investigating judge. One of the position’s responsibilities is to approve the death warrants of hundreds of dissidents, making him a powerful and dangerous individual. He is issued a handgun for protection and aims to keep his family safe. Yet, his wife Najmeh (Soheila Golestani) senses a change in her husband’s spirit, while his daughters Rezvan (Mahsa Rostami) and Sana (Setareh Maleki) have empathy for the youths who are rebelling against these new laws. All of this causes Iman to grow more suspicious and paranoid about his own family, suffocating them further and further into an oppressive atmosphere until a horrifying confrontation eventually comes to light.
Mohammad Rasoulof crafts a palpable tension in every frame of this picture. This domestic landscape quietly introduces the unsettling dread, slowly infecting this close family unit until it is torn to shreds from within. The parallels to the real-life turmoil happening in Iran are easy to make, but these observations are not meant to be subtle. The small amount of power this patriarch is given wreaks havoc on those he is supposed to protect, immediately intensifying the dissent until it spirals out of control. There is a measured pace in Rasoulof’s hand, building intimacy with these characters to understand the frayed psyche that torments them. His direction is still but not emotionless, reveling in the soft yet impactful conversations that showcase a country in peril. He employs this drama to demonstrate the cruel lengths authoritarians will go to maintain their control, no matter how poisonous those actions are perceived. It’s a window into a captivating tale that is often gripping to watch unfold.
However, even though much of this narrative is quite engrossing, that investment doesn’t preserve that aura for the entire running time. The thematic commentary is intriguing, but eventually, the film hits a point where only so much more can be mined from this material before things become repetitive and tedious. The impromptu interrogations are chilling and menacing, but the more external escalation is not quite as effective as the more ominous danger that lingers in the air. The last section of the film involves Iman essentially kidnapping his family after his firearm goes missing, prompting his hostility to escalate and his mental state to unravel even further. On the surface, it’s a tense exchange meant to create suspense with this unpredictable force. However, it also marks a sea change within this story that morphs it into something histrionic in its intentions. The film turns into a caper of sorts and, at times, even inappropriately humorous, with some shot compositions that defuse the terror very sharply. At almost three hours, the extended finale may bring some potent thrills but at the cost of losing the more intimate horror at its core. What’s left is an interesting exploration of an important subject that overstays its welcome.
Even though engagement with this story may wane as it stretches on, the performances certainly do a credible job of keeping one invested. Zareh holds every scene with a sinister gaze, exhibiting an arc that goes from an idealistic worker to a monster consumed by his own suspicions and paranoia. It’s meant to be a character whose humanity is drained as his obsessions become more horrifying and his sights are turned onto his own family. That menace dissipates slightly when tedium sets in, but the performance is still appealing. There’s a much greater emotional depth found in Golestani’s portrayal, having to navigate the uncertain waters of a fraught marriage while needing to shelter her children from greater harm. She communicates a terrified soul that is also determined to battle the danger that is ever present as well, making for an absorbing performance. Rostami and Maleki are also well-suited in their parts, with maybe the former being slightly more notable given her character’s stronger connection to the civil unrest. All the actors work together as a core group to unearth the complicated dynamics at play within this family, and all deliver stellar work.
It is absolutely necessary to view “The Seed of the Sacred Fig” in the context of its creator and his own battles with the Iranian justice system. Rasoulof faces harsh punishments simply for speaking out against a regime that can only use intimidation as a means of constraining its populace. It’s an act of bravery to be celebrated, and much of that intention is admired within this work. The metaphor is easily spotted but conjures a necessary analysis of domination from powerful entities clashing with a rebellious group. Unfortunately, it’s a vital critique that doesn’t stay at the same level of fervor throughout. Still, what is presented is a daring piece of filmmaking that’s willing to strike back against harms being enacted within the political realm, no matter how dire those consequences may be for those who choose to fight back.
