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Iranian Filmmakers Defy Censorship Amidst Protests

Iranian Filmmakers Defy Censorship Amidst Protests

As Mohammad Rasoulof’s new film, The Seed of the Sacred Fig, garners an Oscar nomination, he and other Iranian filmmakers explain their commitment to the youth protest movement, despite the looming threat of imprisonment.

Rasoulof managed to cross the Iranian border into exile just before authorities learned about his latest project, which serves as a domestic conspiracy thriller. The film, which critiques state executions following the public uproar over the death of 22-year-old Mahsa Amini at the hands of morality police, intertwines footage of ongoing protests with the fictional narrative of a judge who employs oppressive tactics to interrogate his family.

Previously, Rasoulof faced eight years in prison and flogging for his outspoken critique of government violence in films like Manuscripts Don’t Burn (2013) and A Man of Integrity (2017). Having already spent seven months in jail from 2022 to 2023 and enduring a travel ban since 2017, his decision to leave Iran stemmed from the need to continue filmmaking rather than face another prolonged imprisonment.

Rasoulof is part of a growing movement among Iranian filmmakers who resist state censorship, often leading to exile or silence. Their work has revitalized Iranian cinema, even as artists face severe consequences. Notably, director Jafar Panahi’s film No Bears (2022) was shot secretly while he was under a travel and filmmaking ban. The film reflects Panahi’s struggle with the reality of creating art under oppressive conditions.

In recent years, even light-hearted films like My Favourite Cake have drawn the ire of authorities. Co-director Maryam Moghaddam remarks on the desire to reflect genuine life in Iran, conveying the stark contrast between private and public personas and acknowledging the pressures faced by those who wish to create without fear.

Filmmakers like Rasoulof contend with the psychological toll of exile while still holding a steadfast commitment to the protest movement. As he expressed, “The new generation does make me more courageous…. I left Iran because I had to make this very cut-and-dried choice.”

The landscape of Iranian cinema is diverse, with some prominent filmmakers, like Asghar Farhadi and the late Abbas Kiarostami, crafting narratives that operate within the regime’s constraints. While their stories may not confront politics directly, Rasoulof emphasizes that various approaches exist and that true artistic expression remain possible, even under restrictive regimes.

The sharp critique of societal norms can lead to harsh repercussions, as demonstrated by filmmaker Saeed Roustaee, whose work faced significant fallout, illustrating the inefficiencies and contradictions within Iran’s system.

Documentaries such as Farahnaz Sharifi’s My Stolen Planet confront the duality of life in Iran, showcasing the contrast between public expectation and private reality. Sharifi’s archival work preserves a glimpse of pre-revolutionary Iran, creating a longing for what once was while highlighting the struggles of contemporary filmmakers.

A retrospective at London’s Barbican, titled “Masterpieces of the Iranian New Wave,” showcases the country’s rich cinematic culture under the Shah, while most films from that era remain banned in Iran. Curator Ehsan Khoshbakht indicates that many filmmakers who fled the revolution struggled to find their footing abroad.

Despite these challenges, Rasoulof remains optimistic about the future of Iranian cinema. He believes that the internet enables filmmakers both inside and outside of Iran to connect, and he expresses hope for returning to produce films in his homeland, accepting the possibility of imprisonment as a cost of continuing his craft.

The Seed of the Sacred Fig will be released in UK cinemas on February 7, while My Favourite Cake is available on Curzon Home Cinema, and My Stolen Planet is screening at Bertha DocHouse in London. The Barbican will host “Masterpieces of the Iranian New Wave” from February 4-25.

Credit: ft.com

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