THE SEED OF THE SACRED FIG: 4 STARS. “a searing depiction of abuse of power.”
SYNOPSIS: “The Seed of the Sacred Fig,” a new political thriller now playing in theatres, is the story of Iman, a newly appointed Revolutionary Court investigating judge in Tehran. The job’s perks—more money and a nice apartment—bring with them the expectation that he will do as he is told, without question. His authoritarian government bosses force him to sign death sentences, rubberstamping them without seeing evidence of any crimes that may have been committed. When the death of a young woman sparks national protests, Iman’s life spirals into mistrust and paranoia, as his daughters Rezvan and Sana struggle to be heard.
CAST: Soheila Golestani, Missagh Zareh, Mahsa Rostami, Setareh Maleki, Niousha Akhshi, Amineh Arani. Directed by Mohammad Rasoulof.
REVIEW: A damning portrait of life in a theocracy, “The Seed of the Sacred Fig” is a family drama shaped as a political thriller. Director Mohammad Rasoulof infuses the story with heavy hearted humanity as the film, which clocks in at two hours and forty-seven minutes, slowly becomes a Hitchcock-esque study of paranoia and familial horror.
The pacing and storytelling are deliberate and straightforward. Rasoulof, who shot the film in secret on location in Iran, builds tension incrementally as Iman’s (Missagh Zareh) household, and his behavior toward his wife and daughters begin to echo the oppressive actions of the state toward a youth movement developing on the streets.
Solid, if occasionally harrowing, performances bring the viewer into the action. Understanding the impact of a theocratic authoritarian government is hard to wrap one;s head around, but made easier as an allegory within the increasingly troubled relationship between Iman, his wife Najmeh (Soheila Golestani) and their daughters Rezvan (Mahsa Rostami) and Sana (Setareh Maleki).
It’s a fascinating, microcosmic way to comment on the larger systemic issues. There is a car chase through the Iranian desert and a protest scene, which open up the film’s claustrophobic chamber piece nature, but, to avoid detection by Iran’s government, Rasoulof uses mobile phone footage of actual protests in the streets of Tehran. Coming at the end of the film, it’s a startling way to connect the fictional story with real life events.
By the time the end credits roll “The Seed of the Sacred Fig” proves itself to be a searing depiction of abuse of power.
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