A patriarch in every sense, Iman (Misagh Zare) is an ambitious middle-class lawyer working for the Iranian government. He has just been promoted to state investigator — the stepping stone to becoming a revolutionary court judge — and, alongside an increase in income and social cachet, his family has received clear instructions on what is required of them as Iman’s star rises in the eyes of the state. His wife (played by actress and activist Soheila Golestani) and adolescent daughters (the scene-stealing Setareh Maleki and Mahsa Rostami) must fall in line.
Outside the home, the streets are alight with protests, depicted through real-life footage of the “Women, Life, Freedom” movement that exploded following the death of 22-year-old Mahsa Amini, who died in 2022 while in police custody after being arrested for allegedly improperly wearing a hijab. Soon, Iman understands his role — rubber-stamping death-penalty judgments against activists without giving due process (which, on the ground, has resulted in the deaths of hundreds). As Iman becomes more entrenched in his work, he grows increasingly at odds with his own family. What follows is a social drama–turned–cat-and-mouse thriller that will have you at the edge of your seat.
Filmmaker Mohammad Rasoulof has fled Iran after receiving an eight-year prison sentence, including whipping, as his revolutionary art is perceived to represent crimes against the country’s security.
“Through a single family, Mr. Rasoulof has created a vivid portrait of the dilemmas of today’s Iran, where the power of iman, or faith, suggests one kind of observation but the power of the iPhone suggests another.” —Kyle Smith, Wall Street Journal “THE SEED OF THE SACRED FIG is a political thriller, a horror movie, and an ode to that unrepentance. The boldness of Iranian girls and women is its inspiration and its essence.” —Roxana Hadadi, Vulture “A thriller of propulsive skill and blunt emotional force, marrying the muscularity of an action film to the psychological intensity of a chamber drama.” —Justin Chang, New Yorker
