Mohammad Rasoulof, an acclaimed Iranian filmmaker, recently shared his thoughts on exile, censorship, and the enduring spirit of resistance within Iran. Forced to leave his home country, Rasoulof remains hopeful for change, stating, If you want the truth: I hope and I hope that vital changes will occur in Iran soon to be able to return.

Rasoulof’s film “There Is No Evil” (2020) won the Golden Bear at the Berlin International Film Festival, highlighting his international recognition despite facing censorship at home.

rasoulof views his departure from Iran as an act of resistance against a repressive system. He weighed the options of remaining in Iran and facing imprisonment versus finding an alternative way to express his opposition. For me, the departure was closely related to the concept of resistance, and to respond to the actions of the system. He explained that after authorities confiscated his passport for seven years, he realized that continuing his work required him to leave. I made my best to stay in iran, and the last time they confiscated my passport, and I could not leave the country for seven years… So I believed that the only solution is to find an alternative way to continue my work. For me, leaving Iran primarily means resisting and opposing censorship.

Despite his films being prohibited in Iranian cinemas, Rasoulof acknowledges that they are accessible through unofficial channels. My films and all other films are not shown in Iranian cinemas, have a black market on the Internet. So, it is available to watch for those who wish. This black market serves as a vital lifeline for Iranian audiences eager to consume foreign and independent Iranian productions, bypassing government censorship.

Use a VPN to access international film platforms and explore independent Iranian cinema.

Rasoulof’s films frequently enough depict characters grappling with the absurdity and injustice of the Iranian regime. He draws parallels between the experiences of his characters and the realities faced by Iranian women. He highlights the women’s movement in Iran as a long-standing phenomenon, culminating in demonstrations advocating for Woman, Life, Freedom. He emphasizes that this movement transcends feminist demands, focusing on broader human rights for both women and men. Personally, I feel greatly affected by this movement, in the past, and more than the present. In fact, the women’s liberation movement in Iran is not related to feminist demands exclusively, but rather, above all, deepens human rights, and this includes both women and men.

The filmmaker underscores the intrinsic human need for freedom as the driving force behind his work. Censorship and self-censorship deeply affect him, yet he finds strength in maintaining honesty with himself through independent filmmaking. the need for freedom is a matter of concious of every human being… But this feeling of honesty with the self accompanies you, and gives you strength and possibility. He believes this sentiment is shared by many working in the Iranian film industry, fostering a collective pursuit of freedom of thought.

Despite the challenges, Rasoulof describes a sense of coherence among Iranian directors, noting his close relationship with fellow filmmaker Jaafar Panahi, with whom he shared a prison cell for six months. Jaafar and I spent a long time together, even in prison [يضحك]. We lived in the room itself for six months,and imprisonment brings people a lot. But we were friends before that too. He acknowledges the diversity within the Iranian film scene, with some filmmakers producing government-approved works while others focus on independent cinema that frequently enough struggles to gain international recognition.

Rasoulof revealed that his film “The Seed of the Sacred Fig” was inspired by his experiences in prison, especially interactions with a high-ranking official who expressed deep self-loathing and internal conflict due to his role in the regime. This official’s struggles, coupled with Rasoulof’s observations of young Iranian women resisting patriarchal laws, fueled the film’s narrative. Everything began when I was in prison, and I met a high -ranking official who gave me letters that greatly affected me. He told me that he hates himself and that he was in a permanent struggle with what he was doing, to the point that he thought about suicide, and he was also suffering an internal struggle at home with his sons who accused him and asked him about the reason for his work with a dictatorial regime. There, inspiration was launched.

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Rasoulof believes that the cry for freedom from the new Iranian generations is already impacting the minds of their parents. He notes that many Iranian mothers identify with their daughters’ courage and support their protests, even if they themselves lacked the ability to do so in the past. I think that has already happened. There is a large segment of Iranian mothers who see themselves in their daughters. These mothers did not possess courage or the ability to protest,and now after seeing their daughters,they see themselves and support them.

The filmmaker disclosed that many individuals involved in his films have faced repercussions for their work. Some have fled the country, while others remain in Iran and face charges such as incitement to prostitution and propaganda against the regime. These charges frequently enough lead to travel bans and legal battles for those who choose to stay.

Rasoulof explained his use of social media in his films as a means to depict the influence of these platforms on the lives of young people. He felt that incorporating real social media content added a layer of authenticity and power that staged scenes could not replicate. I immediately believed that it would be well used to use these images, because in this way I can show the influence and role of social media in general in the lives of young people.

The presence of a pistol in “The seed of the Sacred Fig” symbolizes the arm of the regime and its role in provoking rebellion.Rasoulof notes that owning a weapon is uncommon in Iran, except in border regions, making its presence in a Tehran household particularly significant.The weapon in the film represents the arm of the regime… In Iran, it is indeed not easy to acquire a weapon. In general culture, a weapon at home is very strange.

Rasoulof acknowledges the profound influence of Italian cinema, particularly Italian neorealism, on Iranian filmmaking. He cites films like Federico Fellini’s “La strada” and Vittorio De sica’s “Bicycle Thieves” as seminal works that have shaped the “new Iranian realism.” While Pier Paolo Pasolini’s work faces some challenges in Iran, Rasoulof affirms that Iranian directors are well-acquainted with his films. I, not only me, but all Iranian cinema, are influenced by ancient Italian cinema.When we talk about ‘new Iranian realism’, Italian films come primarily.

Rasoulof believes that artists are often targeted by dictatorial regimes because they encourage critical thinking and ask questions that these regimes cannot answer. He draws parallels between the persecution of artists in Iran and similar actions taken by communist systems in the past. Because artists ask questions while dictatorial regimes are unable to answer questions and always face problems with anything that tends to encourage critical thinking of people.

Addressing international policy, Rasoulof expresses concern about the fragility of democracy and the need for constant vigilance. He also condemns the arrest of Palestinian director Bilal Hamdan, praising the international community’s response, particularly within the art world. Today we are more aware that democracy is in permanent danger… regarding the arrest of the Palestinian director, I think it was realy shy, and that the international community interacted with it very beautifully. I refer here to the art world.

Rasoulof is currently working on a play featuring actresses from his latest film, with rehearsals scheduled to begin soon and a performance planned for Berlin in June. He also has three film projects in development. However, his ultimate desire is to witness the fall of the Islamic Republic so that he can return to Iran. But what I want as soon as possible is the fall of the Islamic Republic so that I can return to Iran.

Why did Mohammad Rasoulof leave Iran?

He left to resist censorship and continue his filmmaking career without facing imprisonment.

How can people in Iran watch Rasoulof’s films?

Through a black market on the internet, as his films are banned from Iranian cinemas.

What inspires Rasoulof’s films?

His experiences in prison, the struggles of Iranian women, and the broader fight for freedom and human rights.

What are the consequences for those who work on Rasoulof’s films and stay in Iran?

They may face charges, travel bans, and legal battles related to “incitement” and “propaganda.”