THE SEED OF THE SACRED FIG Trailer (2024) Mahsa Rostami

THE SEED OF THE SACRED FIG Trailer (2024) Mahsa Rostami

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THE SEED OF THE SACRED FIG Trailer (2024) Mahsa Rostami
© 2024 - Neon

"You shouldn't have told your family about your work." 🇮🇷 Neon has revealed the official US trailer for the acclaimed, award-winning Iranian film The Seed of the Sacred Fig, the latest film from writer & director Mohammad Rasoulof. This first premiered at the 2024 Cannes Film Festival, where it won a Special Jury Prize; it then went on to play at the Telluride, Toronto, and New York Film Festivals this fall. Shot entirely in secret, Rasoulof's award-winning thriller, The Seed of the Sacred Fig, centers on a family thrust into the public eye when Iman is appointed as an investigating judge in the capital city of Tehran, Iran. As political unrest erupts in the streets, Iman realizes that his job is even more dangerous than expected, making him increasingly paranoid and distrustful, even of his own wife Najmeh and daughters Sana and Rezvan. A tragic tale of how paranoia corrupts good people. Starring Misagh Zare, Soheila Golestani, Mahsa Rostami, Setareh Maleki, Niousha Akhshi, Reza Akhlaghi, Shiva Ordooei, and Amineh Arani. This is also one of my favorite films of 2024 (my review) and I hope people take the time to watch it when it opens soon.

Here's the US trailer (+ poster) for Mohammad Rasoulof's The Seed of the Sacred Fig, from YouTube:

The Seed of the Sacred Fig Poster

Investigating judge Iman grapples with paranoia amid political unrest in Tehran. When his assigned gun vanishes, he suspects his wife and daughters, imposing draconian measures that strain family ties as societal rules crumble. A reflection of his country's political landscape, director Mohammad Rasoulof creates a climate of paranoia in The Seed of the Sacred Fig, a film about an examining magistrate whose gun disappears unexpectedly just as huge demonstrations erupt in Tehran. Within his previously close-knit family, a poisonous atmosphere sets in... The Seed of the Sacred Fig, originally known as دانه‌ی انجیر معابد in Persian, is written and directed by acclaimed Iranian filmmaker Mohammad Rasoulof, director of the movies The Twilight, Iron Island, Head Wind, The White Meadows, Goodbye, Manuscripts Don't Burn, A Man of Integrity, and There Is No Evil previously. This is produced by Rozita Hendijanian, Amin Sadraei, Jean-Christophe Simon, Mani Tilgner, as well as Mohammad Rasoulof. This initially premiered at the 2024 Cannes Film Festival earlier this year (read our review). Neon will debut Rasoulof's The Seed of the Sacred Fig in select US theaters starting November 27th, 2024, on Thanksgiving week, this fall. Look any good?
The Seed of the Sacred Fig

French theatrical release poster
Persian دانه‌ی انجیر معابد
Directed by Mohammad Rasoulof
Written by Mohammad Rasoulof
Produced by Mohammad Rasoulof
Rozita Hendijanian
Amin Sadraei
Jean-Christophe Simon
Mani Tilgner
Starring Soheila Golestani
Missagh Zareh
Mahsa Rostami
Setareh Maleki
Niousha Akhshi
Amineh Arani
Cinematography Pooyan Aghababaei
Edited by Andrew Bird
Music by Karzan Mahmood
Production
companies
Run Way Pictures
Parallel45
Arte France Cinéma
Distributed by
Pyramide Distribution (France)
Alamode Film (Germany)
Films Boutique (Worldwide)
Release dates
24 May 2024 (Cannes)
18 September 2024 (France)
26 December 2024 (Germany)
Running time 168 minutes
Countries
Iran
Germany
France
Language Persian
Box office $2.4 million[1]
The Seed of the Sacred Fig (Persian: دانه‌ی انجیر معابد, romanized: Dāne-ye anjīr-e ma'ābed; French: Les Graines du figuier sauvage; German: Die Saat des heiligen Feigenbaums) is a 2024 political thriller drama film written and directed by Mohammad Rasoulof. The story centers on Iman, an investigating judge in the Revolutionary Court in Tehran, who grapples with mistrust and paranoia as nationwide political protests intensify and his gun mysteriously disappears.[2] It stars Soheila Golestani, Missagh Zareh, Mahsa Rostami and Setareh Maleki. The fictional narrative is combined with real images of the protests that were violently suppressed by the Iranian authorities.

The film premiered on 24 May 2024 at the 77th Cannes Film Festival, and was selected to compete for the Palme d'Or in its main competition section, where the jury awarded it a Special Award. Ahead of its premiere, Rasoulof was sentenced to eight years in prison by Iranian authorities. He successfully fled to Germany and attended the red carpet at Cannes. The film was chosen as the German entry for Best International Feature Film at the 97th Academy Awards.[3]

Plot
Iman, a devout and honest lawyer, lives with his wife Najmeh and their daughters Rezvan and Sana. He has recently been appointed as an investigating judge in the Revolutionary Court in Tehran. The position provides him a higher salary and a larger apartment for his family. As the nationwide political protests against the authoritarian government unfold, Iman discovers that he was not hired because of his legal qualities. He is expected to approve judgments presented to him by his superiors without assessing the evidence, including death sentences. For this reason, he is required to remain anonymous. He is ordered to withhold information from his friends and family who could be targeted as a means of pressuring him. His children are expected to stay off social media. The government issues him a handgun for his family's protection, but Iman is woefully unprepared to handle the gun and fails to properly store it in a secure compartment in the house.

As nationwide political protests intensify, Iman's life is pervaded by mistrust and paranoia. The protests force him to sign several hundred death sentences a day. Meanwhile, Rezvan and Sana follow the protests in horror on their cell phones. The two daughters eventually rebel against their father at the dinner table. He berates them for their feminist sensibilities which he dismisses as enemy propaganda. Najmeh, who is just as devout as Iman, advises her daughters to stay away from their revolutionary friends. The relationship between parents and daughters deteriorates increasingly. When Sadah, a good friend of Rezvan's, is shot in the face on the street during a demonstration against compulsory hijab, Najmeh and her daughters provide first aid in their apartment. They decide to keep the incident secret from Iman. A short time later, Sadah is arrested.

At the same time, Iman's gun mysteriously disappears and he becomes suspicious of the women of his family, believing one of them has taken it and is lying to him. He forces both daughters and his wife to meet with his colleague Alireza for interrogation. Iman justifies this treatment by saying that he no longer feels safe in his own home since he can no longer trust his family. Iman's name, photo and address are revealed on social media. For their own protection, he decides to drive with his wife and daughters to his childhood home in the mountains. Before he leaves, a colleague gives him an extra gun for protection.

During the car ride, the family encounters a couple who recognize Iman. A car chase ensues, as Iman runs them off the road and threatens them with the new gun. While that confrontation is going on outside the car, Sana reveals to her sister that she took her father's original gun and has it now.

At the childhood home, Iman puts his family on trial. He interrogates the women and tries to force them to confess in front of a camera. To try and protect her mother and sister, Rezvan falsely confesses to hiding the gun. Iman locks Rezvan and Najmeh up, but Sana escapes with the gun. She is able to lock him in a shed and free her sister and mother.

In the end, a wild chase develops away from the home. Iman and Sana raise their guns at each other, but the ground below the father collapses, seemingly killing him.

The film ends with footage captured on mobile phones depicting the bloody protests on the streets of Tehran.

Cast
Soheila Golestani as Najmeh
Missagh Zareh as Iman
Mahsa Rostami as Rezvan
Setareh Maleki as Sana
Niousha Akhshi as Sadaf
Amineh Mazrouie Arani as Woman in car
Reza Akhlaghirad as Ghaderi
Shiva Ordooie as Fateme
Background

Mohammad Rasoulof
In the past, director Mohammad Rasoulof had repeatedly violated Iranian censorship regulations with his films and was given three prison sentences as well as bans on working and leaving the country. In 2020, his film There Is No Evil won the top prize at the 70th Berlin International Film Festival, where it was awarded in his absence.[4]

Rasoulof was originally scheduled to take part in the 2023 Cannes Film Festival as a jury member of the Un Certain Regard section. However, he was arrested in July 2022 after criticising the government's crackdown on protestors in the southwestern city of Abadan over a deadly building collapse. He was temporarily released from prison in February 2023 due to his health. Rasoulof was later pardoned and sentenced to a year in prison and a two-year ban on leaving Iran for "propaganda against the regime."[5]

Following the Cannes selection announcement, the Iranian authorities interrogated the cast and crew, banned them from leaving the country, and pressured them to convince Rasoulof to withdraw the film from the festival line-up.[6][7][8] On 8 May 2024, Rasoulof's lawyer announced that the director has been sentenced to eight years in prison as well as flogging, a fine and confiscation of his property.[9][10]

Shortly after, Rasoulof and some crew members managed to flee from Iran to Europe.[11][12] Rasoulof's described his 28-day escape from Iran as an "exhausting, long, complicated, and anguishing journey". He traveled on foot between border villages, ultimately arriving in a town with a German consulate which identified him using his fingerprints and issued him a temporary travel document which he used to travel to Germany.[13][14][15] Rasoulof and the cast and crew attended the film's red carpet at Cannes on 24 May 2024. During his appearance, he held two photographs displaying the actors Soheila Golestani and Missagh Zareh, both of whom have been unable to leave Iran.[16]

Production
The Seed of the Sacred Fig is the tenth directorial work of Mohammad Rasoulof. The title refers to a species of fig that spreads by "wrapping itself around another tree and eventually strangling it". This was seen as a symbol of the theocratic regime in Iran.[17] Rasoulof wrote the screenplay and cast Missagh Zareh and Soheila Golestani in the main roles of the regime-loyal couple Iman and Najmeh, respectively. Gholestani had herself campaigned against wearing the hijab during the protests and had been arrested for this.[18] Rasoulof cast Mahsa Rostami and Setareh Malek for the roles of the daughters Rezvan and Sana, respectively.

The filming of The Seed of the Sacred Fig took place in secret and lasted about 70 days, from the end of December 2023 to March 2024. Rasoulof himself described it as "difficult". He could only film for a few days at a time and then had to take breaks.[19] Rasoulof worked with cinematographer Pooyan Aghababaei.[20] The director stated that he was in the middle of filming when he learned of his renewed prison sentence. Rasoulof was counting on the appeal process to take a long time to review his case. In addition, this period in spring coincided with the Nowruz (New Year) celebrations in Iran, which lasted two weeks. In fact, Rasoulof managed to finish his film by the end of the holidays. After the appeals court confirmed the verdict, he was forced to decide within a two-hour window whether to remain in Iran and surrender to arrest or to flee. He left all his electronic devices at home and fled to a safe place before crossing the Iranian border on foot.[19]

Poster with portrait of Mahsa Amini at a solidarity demonstration in Melbourne, Australia (2022)
The footage was smuggled out of Iran to Hamburg, where it was edited by Andrew Bird, who Rasoulof had previously worked with. Post-production took place in Germany.[19] Between the film's fictional scenes, Bird added real images of the political protests following the death of Iranian Kurdish woman Mahsa Amini in police custody in Tehran on 16 September 2022. The final 168-minute version shows real and graphic internet videos of the demonstrations and the subsequent violent crackdown by authorities.[21][22]

Rasoulof produced the film alongside Amin Sadraei, Mani Tilgner, Rozita Hendijanian and Jean-Christophe Simon. The production companies involved were Run Way Pictures of Germany and Parallel45 of France. It was co-produced by Arte France Cinéma with the support of the MOIN Filmförderung Hamburg Schleswig-Holstein. The Berlin-based company Films Boutique is handling the worldwide sales rights.[2]

Release

Leading actress Soheila Golestani could not attend the premiere in Cannes

Rasoulof with part of his acting ensemble in Cannes
The Seed of the Sacred Fig was selected to compete for the Palme d'Or at the 2024 Cannes Film Festival, where it had its world premiere on 24 May 2024,[23] and went on to receive a special award by the jury, an additional designation behind the main jury awards of Palme d'Or, Grand Prix and Jury Prize.[24] The film received a standing ovation with reports that it lasted either 12 minutes[25] or 15 minutes.[26] Prior to its screening, Neon acquired North American distribution rights to the film, planning to release it later that year.[27] Following the film's premiere, Lionsgate acquired the distribution rights for the UK and Ireland.[28]

The film made its North American premiere at the 51st Telluride Film Festival.[29] It also screened in the Centrepiece section of the 2024 Toronto International Film Festival,[30] as well as in the Main Slate section of the 62nd New York Film Festival.[31] Pyramide Distribution theatrically released the film in France on 18 September 2024, under the title Les Graines du figuier sauvage.[32] Alamode Film is set to distribute the film in Germany on 26 December 2024, under the title Die Saat des heiligen Feigenbaums.[33]

Reception
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This section needs expansion. You can help by adding to it. (July 2024)
Critical response
On the review aggregator website Rotten Tomatoes, 93% of 40 critics' reviews are positive, with an average rating of 8.1/10.[34] Metacritic, which uses a weighted average, assigned the film a score of 84 out of 100, based on 15 critics, indicating "universal acclaim".[35] On AlloCiné, the film received an average rating of 4.4 out of 5, based on 39 reviews from French critics.[36]

Accolades
Accolades for The Seed of the Sacred Fig
Award Date of ceremony Category Recipient(s) Result Ref.
Asia Pacific Screen Awards 30 November 2024 Best Performance Soheila Golestani Pending [37]
Cannes Film Festival 25 May 2024 Palme d'Or Mohammad Rasoulof Nominated [38]
Special Award (Prix Spécial) Won [39]
FIPRESCI Prize Won [40]
Prize of the Ecumenical Jury Won [41]
François Chalais Prize Won [42]
Prix des Cinémas Art et Essai Won [43]
Chicago International Film Festival 27 October 2024 Gold Hugo The Seed of the Sacred Fig Pending [44]
San Sebastián International Film Festival 28 September 2024 City of Donostia / San Sebastian Audience Award for Best European Film Won [45]
Sydney Film Festival 16 June 2024 GIO Audience Award for Best International Feature Won [46]
See also
List of submissions to the 97th Academy Awards for Best International Feature Film
List of German submissions for the Academy Award for Best International Feature Film
References
"The Seed of the Sacred Fig (2024)". Box Office Mojo. Retrieved 12 October 2024.
Rosser, Michael (3 May 2024). "Films Boutique boards Mohammad Rasoulof's Cannes title 'The Seed Of The Sacred Fig' (exclusive)". Screen International. Archived from the original on 6 May 2024. Retrieved 4 May 2024.
Rosser, Michael (22 August 2024). "Germany selects Mohammad Rasoulof's 'The Seed Of The Sacred Fig' for Oscars 2025". Screen International. Retrieved 22 August 2024.
Keslassy, Elsa (22 April 2024). "Cannes Film Festival Adds Michel Hazanavicius, Mohammad Rasoulof Movies to Competition Lineup (EXCLUSIVE)". Variety. Archived from the original on 28 April 2024. Retrieved 29 April 2024.
Bergeson, Samantha (22 April 2024). "Mohammad Rasoulof Sets Cannes Return with 'The Seed of the Sacred Fig' — Though Whether He'll Be There in Person Is Unclear". IndieWire. Archived from the original on 23 April 2024. Retrieved 29 April 2024.
"Iranian authorities ban film crew from attending Cannes Film Festival". euronews. 1 May 2024. Archived from the original on 1 May 2024. Retrieved 1 May 2024.
"Cannes: Iranian Authorities Pressuring 'The Seed of the Sacred Fig' Director to Withdraw Film from Competition". World of Reel. 19 August 2019. Archived from the original on 1 May 2024. Retrieved 1 May 2024.
Rosser, Michael (1 May 2024). "Iran bans actors, crew of Mohammed Rasoulof's 'The Seed Of The Sacred Fig' from attending Cannes". Screen International. Archived from the original on 3 May 2024. Retrieved 1 May 2024.
"Iranian Authorities Sentence 'The Seed of the Sacred Fig' Director to 8 Years in Prison and Flogging". World of Reel. 19 August 2019. Archived from the original on 10 May 2024. Retrieved 8 May 2024.
Goodfellow, Melanie (8 May 2024). "Mohammad Rasoulof Sentenced To Eight Years In Prison, Flogging & Confiscation Of Property, Says Lawyer". Deadline Hollywood. Archived from the original on 8 May 2024. Retrieved 8 May 2024.
Chrisafis, Angelique; Shoard, Catherine (13 May 2024). "Iranian film director Mohammad Rasoulof flees Iran to avoid prison". The Guardian. ISSN 0261-3077. Retrieved 13 May 2024.
Goldbart, Max (22 May 2024). "Mohammad Rasoulof Will Attend Cannes Screening Of 'The Seed Of The Sacred Fig'". Deadline. Retrieved 22 May 2024.
Ntim, Zac (23 May 2024). "Mohammad Rasoulof On His "Anguishing" 28-Day Journey To Escape Iran After Covertly Shooting 'The Seed Of The Sacred Fig' & How He Landed In Germany – Cannes". Deadline. Retrieved 25 May 2024.
Zilko, Christian (18 May 2024). "Mohammad Rasoulof Details His 'Exhausting and Dangerous' Escape from Iran Before 'The Seed of the Sacred Fig' Debuts at Cannes". IndieWire. Retrieved 25 May 2024.
Roxborough, Scott (24 May 2024). "How Mohammad Rasoulof Escaped Iran and Why He Will Continue Fighting: "I Will Never Forget That the Islamic Republic Is a Terrorist"". The Hollywood Reporter. Retrieved 25 May 2024.
Yuan, Jada (24 May 2024). "Iranian director risks Cannes appearance after escaping arrest". The Washington Post. Retrieved 25 May 2024.
Pilarczyk, Hannah (25 May 2024). "Die Töchter der Freiheit". Der Spiegel (in German). Archived from the original on 25 May 2024. Retrieved 5 June 2024.
"Protesting Iranian Actors, Director Released on Bail". Voice of America. Agence France-Presse. 11 December 2022. Retrieved 5 June 2024.
Rosser, Michael (23 May 2024). "Mohammad Rasoulof talks fleeing Iran and making Cannes Competition title 'The Seed Of The Sacred Fig'". Screen International. Retrieved 5 June 2024.
Barraclough, Leo (19 May 2024). "Films Boutique Sells Mohammad Rasoulof's 'The Seed of the Sacred Fig' to Multiple Territories (EXCLUSIVE)". Variety. Retrieved 5 June 2024.
Goldmann, Marie-Luise (24 May 2024). "Tosender Applaus für geflohenen iranischen Regisseur in Cannes". Die Welt (in German). Retrieved 5 June 2024.
Steinitz, David (24 May 2024). "Zeugnis aus der Finsternis". Süddeutsche Zeitung (in German). Archived from the original on 30 May 2024. Retrieved 5 June 2024.
"The Screenings Guide of the 77th Festival de Cannes". Festival de Cannes. 8 May 2024. Archived from the original on 8 May 2024. Retrieved 8 May 2024.
"List of winners at the 77th Cannes Film Festival". AP News. 25 May 2024. Retrieved 3 September 2024.
Setoodeh, Ramin; Shafer, Ellise (24 May 2024). "Mohammad Rasoulof's 'Seed of the Sacred Fig' Shakes Up Cannes With 2024 Record 12-Minute Standing Ovation, Becoming Palme d'Or Frontrunner". Variety. Retrieved 24 May 2024.
Tartaglione, Nancy (24 May 2024). "Mohammad Rasoulof's 'The Seed Of The Sacred Fig' World Premiere Gets Nearly 15-Minute, Emotional Standing Ovation – Cannes Film Festival". Deadline Hollywood. Retrieved 24 May 2024.
Ntim, Zac (18 May 2024). "Neon Takes North American Rights To Mohammad Rasoulof's 'The Seed of the Sacred Fig'". Deadline Hollywood. Retrieved 18 May 2024.
Keslassey, Elsa (29 May 2024). "Mohammad Rasoulof's Cannes Prizewinner 'The Seed of the Sacred Fig' Lures International Buyers, Including for the U.K., Japan and Germany (EXCLUSIVE)". Variety. Retrieved 6 June 2024.
Ford, Rebecca (29 August 2024). "The 2024 Telluride Lineup Promises "Cinematic Ecstasy"". Vanity Fair. Retrieved 30 August 2024.
Pond, Steve (6 August 2024). "Toronto Film Festival Adds 43 International Movies From 41 Countries". TheWrap. Retrieved 6 August 2024.
Aguiar, Annie (6 August 2024). "Festival Winners Crowd New York Film Festival Main Slate Lineup". The New York Times. ISSN 0362-4331. Retrieved 22 August 2024.
"Les distributeurs ajustent leurs line-ups". Boxoffice Pro (in French). 7 June 2024. Retrieved 10 June 2024.
"Die Saat des heiligen Feigenbaums". Alamode Film (in German). Retrieved 28 August 2024.
"The Seed of the Sacred Fig". Rotten Tomatoes. Fandango Media. Retrieved 29 September 2024. Edit this at Wikidata
"The Seed of the Sacred Fig". Metacritic. Fandom, Inc. Retrieved 16 September 2024.
"Critiques Presse pour le film Les Graines du figuier sauvage" (in French). AlloCiné. Retrieved 20 September 2024.
"17th ASIA PACIFIC SCREEN AWARDS NOMINATIONS ANNOUNCED". Asia Pacific Screen Awards. 16 October 2024. Retrieved 17 October 2024.
Goodfellow, Melanie (22 April 2024). "Oliver Stone, Lou Ye, Michel Hazanavicius Films & 'The Count Of Monte Cristo' Among New Titles Added To Cannes 2024 Official Selection". Deadline. Archived from the original on 9 May 2024. Retrieved 9 May 2024.
"The 77th Festival de Cannes winners' list". Festival de Cannes. 25 May 2024. Retrieved 4 June 2024.
Balaga, Marta (25 May 2024). "Mohammad Rasoulof's 'The Seed of the Sacred Fig' Wins Fipresci Award at Cannes: 'A Courageous Story'". Variety. Retrieved 25 May 2024.
"Le Prix du Jury œcuménique 2024 décerné à 'Les Graines du Figuier Sauvage'". Jury oecumenique au Festival de Cannes (in French). Retrieved 26 May 2024.
"Au Festival de Cannes, il n'y a pas que la Palme d'or, voici les autres films primés sur la Croisette". France 3 Provence-Alpes-Côte d'Azur (in French). 25 May 2024. Retrieved 26 May 2024.
"Prix des Cinémas Art et Essai 2024 : LES GRAINES DU FIGUIER SAUVAGE de Mohammad Rasoulof". Association Française des Cinémas d'Art et d'Essai (in French). Retrieved 25 May 2024.
Kay, Jeremy (20 September 2024). "'All We Imagine As Light', 'The End', 'Harvest' among Chicago International Film Festival line-up (exclusive)". ScreenDaily. Retrieved 20 September 2024.
Lodge, Guy (28 September 2024). "San Sebastián Film Festival Award Winners (Updating Live)". Variety.
"'The Moogai', 'Skategoat' take home SFF Audience Awards". IF Magazine. 20 June 2024. Retrieved 26 August 2024.
External links
The Seed of the Sacred Fig at IMDb Edit this at Wikidata
The Seed of the Sacred Fig at Wikipedia's sister projects:

Media from Commons

Quotations from Wikiquote
vte
Films directed by Mohammad Rasoulof
vte
François Chalais Prize
vte
German submission for Academy Award for Best International Feature Film
Categories: 2024 films2024 drama filmsPolitical thriller films2020s Persian-language filmsIranian drama filmsFilms directed by Mohammad RasoulofNeon (company) filmsFilms set in TehranFilms set in 20222020s German films2020s French filmsGerman drama filmsFrench drama filmsArte France Cinéma films
The trailer for Mohammad Rasoulof’s thriller The Seed of the Sacred Fig has been released, offering a tense glimpse into a family’s struggle against Iranian oppression. Shot entirely in secret, the film follows Iman, played by Misagh Zare, a judge in Tehran who finds himself and his family caught in a web of political unrest. As protests erupt in the streets, Iman’s role becomes increasingly dangerous, causing him to question even those closest to him—his devout wife, Najmeh, and their teenage daughters, Sana and Rezvan.

What do the Cannes 2024 wins mean for the Oscars 2025?

The trailer portrays a family descending into paranoia, with scenes of car chases, frantic knocking at their door, and a gun ready for protection from potential threats. Iman’s whisper of “What curse has fallen upon me?” underscores the mounting tension as he navigates a corrupt judicial system and the dangers that surround him.

The political climate in the film mirrors the real-life unrest following the death of Mahsa Amini in 2022, when protests erupted across Iran against oppressive government practices. Rasoulof faced his own persecution and fled an eight-year prison sentence in Iran just before The Seed of the Sacred Fig premiered at Cannes, where it won the Special Jury Prize.

‘I can’t believe I’m standing here’: Escaped Iran director Mohammad Rasoulof arrives in Cannes

Now a resident of Germany, Rasoulof’s film has been selected to represent the country at the 2025 Oscars in the Best International Feature category. North American rights for The Seed of the Sacred Fig were acquired by Neon, with a limited theatrical release planned for November 2024. The film stars Soheila Golestani, Mahsa Rostami, Setareh Maleki, and Reza Akhlaghi, among others.

“The Seed of the Sacred Fig” sprouted as a secret film.

Writer/director Mohammad Rasoulof escaped Iran after being sentenced to eight years of imprisonment and a flogging for protesting political injustices. “The Seed of the Sacred Fig” was shot entirely in secret, and later debuted at Cannes.

The award-winning thriller “centers on a family thrust into the public eye when Iman (Misagh Zare) is appointed as an investigating judge in Tehran. As political unrest erupts in the streets, Iman realizes that his job is even more dangerous than expected, making him increasingly paranoid and distrustful, even of his own wife Najmeh and daughters Sana and Rezvan,” per the official synopsis.

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Soheila Golestani, Mahsa Rostami, Setareh Maleki, Niousha Akhshi, Reza Akhlaghi, Shiva Ordooei, and Amineh Arani star.

Rasoulof, who has been imprisoned numerous times for creating films that shine a light on the abusive government powers in Iran, told The Guardian that “The Seed of the Sacred Fig” was one of many scripts he created while in jail at the Evin Prison in Tehran.

“I wrote many projects when I was in prison, and I’ve always felt that if I go to prison for years, I won’t have the strength or the ability to make these films,” he said. “So first I have to make them, and then after, it’s always time to go back and to go to prison…My mission is to be able to convey the narratives of what is going on in Iran and the situation in which we are stuck as Iranians. This is something that I cannot do in prison.”

Rasoulof added of the Iranian government, “They’re just trying to scare everyone and to push everyone out of any attempt to make films or express themselves or use their freedom just because of this illusion of control,” he said. “And so my message to my peers, to other filmmakers, is: There are ways.”

“The Seed of the Sacred Fig” went on to screen at TIFF and NYFF, with Rasoulof introducing the film and participating in a Q&A for both NYFF screenings.

IndieWire film editor Ryan Lattanzio wrote in the review that “The Seed of the Sacred Fig” is “an anguished cry from the heart” of Mohammad Rasoulof.

“While Iran will never, ever submit his deeply unsettling latest masterwork for the Best International Feature Oscar — often the only harbinger of anti-establishment Middle Eastern films making their way to the U.S. — this searing domestic thriller deserves the widest audience possible,” Lattanzio wrote. “With the brutal 2022 killing of Mahsa Amini by government hands as his launching point, Rasoulof crafts an extraordinarily gripping allegory about the corrupting costs of power and the suppression of women under a religious patriarchy that crushes the very people it claims to protect.”

“The Seed of the Sacred Fig” premieres November 27 at the Film Forum and Film at Lincoln Center in New York City and at the AMC Century City 15 in Los Angeles. Check out the trailer below.

Read More:
Film
Mohammad Rasoulof
The Seed of the Sacred Fig
Trailers
The first trailer for The Seed of the Sacred Fig has been released online. Written and directed by Mohammad Rasoulof, the movie stars Misagh Zare, Soheila Golestani, Mahsa Rostami, Setareh Maleki, Niousha Akhshi, Reza Akhlaghi, Shiva Ordooei, and Amineh Arani.

Here is the plot synopsis:

“Shot entirely in secret, Mohammad Rasoulof’s award-winning thriller, THE SEED OF THE SACRED FIG, centers on a family thrust into the public eye when Iman is appointed as an investigating judge in Tehran. As political unrest erupts in the streets, Iman realizes that his job is even more dangerous than expected, making him increasingly paranoid and distrustful, even of his own wife, Najmeh and daughters, Sana and Rezvan.”

You can watch the full trailer below and see the movie in select theatres as of November 27, with a gradual expansion planned for the month of December:
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.

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THE RECAP
THE GOOD - An engrossing story about the clash between an oppressive government and protesting citizens, seen through a captivating portrait of a domestic drama. The tension slowly rises, with engaging direction creating an effective intimacy. The performances are all enthralling.

THE BAD - The narrative wears out its welcome by the end, divulging in an elongated third act that lessens the momentum to the point where the storytelling becomes tedious and less effective.

THE OSCAR PROSPECTS - Best Picture, Best Director, Best Original Screenplay & Best International Feature

THE FINAL SCORE - 8/10

8
Tags8/10Amineh AraniCannesCannes Film FestivalMahsa RostamiMissagh ZarehMohammad RasoulofNiousha AkhshiNYFFReviewSetareh MalekiSoheila GolestaniTellurideThe Seed Of The Sacred FigTIFF
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.

Powered by JustWatch

THE RECAP
THE GOOD - An engrossing story about the clash between an oppressive government and protesting citizens, seen through a captivating portrait of a domestic drama. The tension slowly rises, with engaging direction creating an effective intimacy. The performances are all enthralling.

THE BAD - The narrative wears out its welcome by the end, divulging in an elongated third act that lessens the momentum to the point where the storytelling becomes tedious and less effective.

THE OSCAR PROSPECTS - Best Picture, Best Director, Best Original Screenplay & Best International Feature

THE FINAL SCORE - 8/10

8
Tags8/10Amineh AraniCannesCannes Film FestivalMahsa RostamiMissagh ZarehMohammad RasoulofNiousha AkhshiNYFFReviewSetareh MalekiSoheila GolestaniTellurideThe Seed Of The Sacred FigTIFF
For more than two decades, Iman (Misagh Zare) has functioned as a civil servant, doing work that his kids — who represent Iran’s younger generation — would be ashamed of. Better to keep them in the dark. At last, for his loyalty, Iman has been given a promotion, not to judge (the job he wants) but to inspector (a job no one wants). Inspectors are the goons who interrogate students his daughters’ age when they’re arrested for protesting, the ones who sign off on death sentences for alleged dissidents. Iman doesn’t just work for the Iranian regime; he is the regime.

With livid, thinking-person’s thriller “The Seed of the Sacred Fig,” director Mohammad Rasoulof responds to his own imprisonment in 2022 (during which a wave of protests erupted after the death of Jina Mahsa Amini, who was arrested and beaten for wearing an improper hijab) by examining Iranian tensions within the context of a well-placed Tehran family. For most of this slow-boiling nearly-three-hour movie, the main character is not Iman but his submissive, rule-abiding wife, Najmeh (Soheila Golestani). The Jina Revolution marked a historical turning point for women in Iran, and “Seed” depicts the germination of a new solidarity, which started with students but takes root once average citizens like Najmeh buy in.

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At the outset, however, Najmeh is so committed to her husband’s success that she orders her two girls, Rezvan (Mahsa Rostami) and Sana (Setareh Maleki), to be “irreproachable” in every way: how they behave, how they dress, with whom they associate. She frowns upon their more free-spirited friend Sadaf (Niousha Akhshi). Now that they’ve been able to upgrade to a three-bedroom apartment, the slightest slip could bring not only shame upon the family but an end to Iman’s career, and Najmeh won’t allow it. While Iman enforces the status quo at work, she does so at home.

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Like Rasoulof (who miraculously managed to attend the film’s premiere on the final day of the Cannes competition), leading lady Golestani was imprisoned for her activism, though audiences would never guess that by watching the stern, unquestioning matriarch she plays here. Najmeh believes everything she sees on TV, scolding her daughters anytime they show the slightest independence. Of the defiant young people in the streets who shout things like “Down with theocracy! Down with the dictator!” she hisses, “They’re not people, they’re thugs.” But scores of alarming real-world videos — undoctored evidence of a people’s uprising, interspersed throughout the film — suggest otherwise.

Within this family, we can see the same tensions playing out that have galvanized so many in Iran as a whole. Iman and Najmeh believe in both the regime and the religious precepts on which it’s founded, which lend a frightening sense of righteousness to their convictions. “I submit to the one who submits to You. I fight the one who fights You, until the last day,” Iman repeats to himself. But this latest promotion has been eating away at him in strange ways. His colleague Ghaderi (Reza Akhlaghi) gives Iman a pistol upon his promotion — for “self-defense,” he says. But the gun serves only to make Iman more paranoid, especially after it vanishes from his home.

Who could have taken it? As feminists and university students joined forces in the Jina Revolution, the names, photos and home addresses of certain officials were made public. Could one of these activists have broken in? Maybe Sadaf, who came over with a face full of buckshot after a confrontation with the police? In an even more unthinkable scenario, might one of Iman’s family members have stolen the gun? For Iman, losing the weapon could mean losing his job and a prison sentence of up to three years. But what would taking it mean, and why would anyone do so?

This turning point occurs 86 minutes in, at the midpoint of the film, and shifts what has been a slightly didactic portrait of the difference of perspective between conservative-minded parents and their more change-oriented children into a gripping and all-around more suspenseful look at the extremes to which the older generation will go to maintain its control.

Among internationally renowned Iranian auteurs, many of whom work either in miniature or in meta-fiction, Rasoulof demonstrates some of the strongest technical chops. He’s not afraid of marathon running times (his Berlin-winning 2020 feature “There Is No Evil” clocks in at just over two and a half hours), but also is remarkably efficient in which details he chooses to share. While his dramaturgical instincts aren’t quite as literary or tight as “A Separation” director Asghar Farhadi’s, he clearly knows his Chekhov: From the moment Iman’s gun first appears, it’s only a matter of time before the weapon goes off. When it disappears, the intrigue becomes that much more compelling.

Iman turns on his family, which is terrifying to witness, as he drags both daughters and his wife over to his colleague Alireza (the actor prefers to remain anonymous) for interrogation. Rasoulof informs us that students, when picked up by the police for protesting, are locked in solitary confinement until they agree to record an on-camera confession. Facing Alireza — whom she’d always considered a friend — Najmeh objects to his treatment. “Never has a person sitting there been treated with such respect,” he replies. It’s a chilling moment, but nothing compared with what Iman has in store when he drives the family out to his childhood home.

Rasoulof packs the last act of this long (but never dull) film with all kinds of twists, as Iman’s desperation reaches the point where he starts to lock up his own loved ones. This metaphorical location represents the ruins of what Iran once was: a crumbling labyrinth where Sana stumbles upon a stack of old tapes, including one featuring a banned song from half a century ago, in which a woman celebrates the beauty of female hair. Today, going uncovered can get one killed. As a patriarchy treats its citizens, this father handles his wife and kids — with increasing suspicion and unreasonable force.

The situation Rasoulof depicts is hardly limited to Iran. There are echoes of Nazi Germany and modern-day China in the way average citizens submit, while the pressures to inform on one’s neighbors recall pre-perestroika Soviet policies. Rasoulof’s genius comes in focusing on how this dynamic plays out within a family, which makes it personal. Early on, Iman hesitates to comply with an order that conflicts with his ideals. By the nail-biting finale of this masterful allegory, decades of compromise have eroded what he stands for, threatening to bury him and the authoritarian system he represents.

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Cannes Film Festival, Mohammad Rasoulof, The Seed of the Sacred Fig
‘The Seed of the Sacred Fig’ Review: Repression Hasn’t Chastened Mohammad Rasoulof, Who Responds With a Marathon Domestic Critique
Reviewed at Cannes Film Festival (Competition), May 24, 2024. Running time: 172 MIN.
Production: (Iran-Germany-France) A Neon release of a Run Way Pictures presentation, in co-production with Parallel45, Arte France Cinema, with the participation of Arte France, in association with Films Boutique, with the support of L’Aide aux Cinémas du Monde - Centre National du Cinéma et de L’image Animée, Institut Français - Moin Film Fund Hamburg Schleswig-Holstein. (World sales: Films Boutique, Berlin.) Producers: Mohammad Rasoulof, Amin Sadraei, Jean-Christophe Simon, Mani Tilgner, Rozita Hendijanian.
Crew: Director, writer: Mohammad Rasoulof. Camera: Pooyan Aghababaei. Editor: Andrew Bird. Music: Karzan Mahmood.
With: Misagh Zare, Soheila Golestani, Mahsa Rostami, Setareh Maleki, Niousha Akhshi, Reza Akhlaghi, Shiva Ordooei, Amineh Arani. (Persian dialogue)
The word “brave” gets thrown around too casually, especially when talking about directors who might take on a challenging project. Those filmmakers have got nothing on Mohammad Rasoulof, who has used his work to protest the Iranian government, repeatedly violating their censorship regulations in the process. With his latest film, The Seed of the Sacred Fig, Rasoulof and his crew shot it in secret, and were later interrogated and banned from leaving the country to attend the film’s world premiere at Cannes. After being sentenced to eight years in prison and flogging, Rasoulof escaped Iran to Europe, the film smuggled out of the country and to Cannes where it premiered on May 24th, winning multiple awards. Now that is bravery.

Rasoulof’s award-winning film “centers on a family thrust into the public eye when Iman (Misagh Zare) is appointed as an investigating judge in Tehran. As political unrest erupts in the streets, Iman realizes that his job is even more dangerous than expected, making him increasingly paranoid and distrustful, even of his own wife Najmeh and daughters Sana and Rezvan.”

The film focuses on the protests surrounding the mysterious death in custody of Kurdish-Iranian woman Mahsa Amini. Rasoulof has directed ten features and has been arrested multiple times for his work attacking Iran’s abusive government.

Soheila Golestani, Mahsa Rostami, Setareh Maleki, Niousha Akhshi, Reza Akhlaghi, Shiva Ordooei, and Amineh Arani lead the cast.

The Seed of the Sacred Fig will play here in the DMV at the Middleburg Film Festival later this month. You can find out more about it here. It will then open in theaters on November 27th courtesy of NEON.

Mohammad Rasoulof’s “The Seed of the Sacred Fig” has a lot going for it on the way to a potential Palme d’Or win: strong reviews, an anguished political call-out against Iranian oppression, and Rasoulof’s own status as an exile who just fled his home country and was finally able to attend Cannes after all. (Read our interview with the director here.)

On the steps of the Palais for Friday’s premiere, Rasoulof held up photos of two of the actors — Misagh Zare and Soheila Golestani – banned from leaving Iran to attend the festival. He’s already shared how the Islamic Republic has been pressuring his crew into convincing Cannes to drop the film, which charts the breakdown of a family after a Revolutionary Court judge’s gun goes missing, from its lineup. This is Rasoulof’s first time in competition. He previously won prizes in Un Certain Regard for “Manuscripts Don’t Burn” (2013) and “Goodbye” (2011), and “Seed of the Sacred Fig” is another movie he had to shoot in secret after his 2020 Berlinale Golden Bear winner “There Is No Evil.”

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So all of the elements would coalesce — the political timeliness and the undeniable, emotional strength of the film itself — for a worthy Palme or Grand Prix winner. There’s also the fact that Neon acquired the movie mid-festival, surely with the hopes of securing another Palme winner after distributing the last four: “Parasite,” “Titane,” “Triangle of Sadness,” and “Anatomy of a Fall.”

“The Seed of the Sacred Fig” wouldn’t be the first Iranian Palme d’Or winner — Abbas Kiarostami was awarded the honor in 1997 for “Taste of Cherry” — but elevation from the Cannes jury would still send a powerful message. And to a moviegoing world where Iran will in no way ever submit this film for international Oscar contention.

But also earning raves on Thursday was Payal Kapadia’s “All We Imagine as Light,” bought by Sideshow and Janus Films for U.S. release later in the year. The understated drama, about the friendship between two women in Mumbai, is the first Indian film to premiere in the Cannes competition in 30 years since Shaji N. Karun’s “My Own” in 1994. It’s also the first Indian competition film ever to be directed by a woman — and in a 2024 lineup with only four female directors. These factors could also inspire the jury to award “All We Imagine” an historic Palme.

While Jacques Audiard’s trans musical fantasia “Emilia Pérez” was earlier on the top of our charts, now that Netflix has acquired the film, the jury may want to celebrate another film in need of a platform not offered by a global streamer. Netflix has a steady team on the ground, and “Emilia” is the company’s first buy out of the official selection. Still, expect the much-loved film to land a prize elsewhere during Saturday’s ceremony, with Spanish trans actress Karla Sofía Gascón possibly making history in the acting categories.

Cannes competition entries ranked so far by likelihood of winning the Palme d’Or:

1. “The Seed of the Sacred Fig”
2. “All We Imagine as Light”
3. “Anora”
4. “Bird”
5. “The Substance”
6. “Emilia Pérez”
7. “Caught by the Tides”
8. “Kinds of Kindness”
9. “Megalopolis”
10. “Grand Tour”
11. “The Girl with the Needle”
12. “Parthenope”
13. “The Shrouds”
14. “Motel Destino”
15. “Oh, Canada”
16. “Limonov: The Ballad”
17. “Three Kilometers to the End of the World”
18. “Marcello Mio”
19. “The Apprentice”
20. “Wild Diamond”
21. “Beating Hearts”

Wednesday, May 22
A handful of competition premieres just made their way to the Palais to mixed results as the festival starts to wind down, the Cannes Marche du Film shutters Wednesday, and guests pack it up and head home.

In his second time competing for the Palme d’Or after “Red Rocket” three years ago, Sean Baker debuted the spectacularly alive and even exasperating “Anora” (Neon), starring Mikey Madison (“Better Things”) in a breakout, brilliant-from-the-gate lead performance as sex worker Ani. Living paycheck to paycheck in Queens while working as an exotic dancer in Manhattan, she meets a wealthy Russian, Timothée Chalamet-esque Ivan (Mark Eydelshteyn, another auspicious breakout in his first U.S. role). He pays Ani $15,000 to be his “very horny girlfriend” for a week of debauchery in Vegas and in his remote Brooklyn cocaine mansion. They end up getting married impromptu, much to the unhappiness of Ivan’s parents, who make their return to the U.S. from Russia to get the marriage canceled.

CANNES, FRANCE - MAY 21: Mikey Madison attends the 'Anora' Red Carpet at the 77th annual Cannes Film Festival at Palais des Festivals on May 21, 2024 in Cannes, France. (Photo by Gisela Schober/Getty Images)
Mikey Madison attends the ‘Anora’ Red Carpet at the 77th annual Cannes Film Festival at Palais des Festivals on May 21, 2024 in Cannes, France. (Photo by Gisela Schober/Getty Images)Getty Images
“Anora” goes from freewheeling party movie to “After Hours”-esque chaotic journey into the night as Ani and a pair of thugs go looking for an on-the-lam Ivan. Reviews have been broadly adoring for the “Tangerine” and “Florida Project” director’s latest, with Cannes best actress buzz for Madison. The higher-brow corners of the jury may not find the film serious enough — “Anora” is a lot of fun, until it’s gut-wrenchingly sad in its final moments — but Neon can make this a hit with audiences stateside in the fall. Baker works with the company for the first time after a string of films with A24. Also, in a competition lineup brimming with often stuffy, challenging art films, that “Anora” is an entertaining picture that moves ferociously along will count for something among jurors.

Not getting any buzz or love, really, at all was Ali Abbasi’s who-asked-for-this “The Apprentice,” a villain origin story of Donald Trump (Sebastian Stan) under the tutelage of corrupt New York prosecutor Roy Cohn (Jeremy Strong). The movie is more pale imitation than insightful biographical drama, and with Abbasi’s outsider’s perspective as a Danish-Iranian filmmaker (he directed the 2022 Cannes winner “Holy Spider”), “The Apprentice” feels much like a movie made for European festivalgoers who enjoy laughing at Trump. For the rest of us who’ve spent enough time with him already, “The Apprentice” is a grating sit. But for anyone outside Cannes to see it, this will first need a buyer.

David Cronenberg’s upscale, introspective “The Shrouds” finds the Cannes perennial riffing on the death of his wife, Carolyn Zeifman, in 2017, for a sophisticated rumination on grief, memory, and technology. Vincent Cassel plays a businessman with Cronenberg’s near-exact hairstyle and manner of gait and speech (the actor studied the director’s movements) who develops tech where you can watch your loved ones decay in their graves. This is more a classy sci-fi for smart adults than arthouse horror, though the rare personal touch from Cronenberg could inspire the jury to award his efforts somehow. This is Cronenberg’s seventh Palme d’Or nomination.

Monday, May 21
CANNES, FRANCE - MAY 19: (L-R) Dennis Quaid, Coralie Fargeat, Margaret Qualley and Demi Moore attend the "The Substance" Red Carpet at the 77th annual Cannes Film Festival at Palais des Festivals on May 19, 2024 in Cannes, France. (Photo by Victor Boyko/WireImage )
Dennis Quaid, Coralie Fargeat, Margaret Qualley and Demi Moore attend the ‘The Substance’ Red Carpet at the 77th annual Cannes Film Festival at Palais des Festivals on May 19, 2024 in Cannes, France. (Photo by Victor Boyko/WireImage )WireImage
“Emilia Pérez” has some competition on its heels in the Cannes competition: Coralie Fargeat’s body horror feminist industry satire “The Substance” premiered at the Palais last night to ecstatic raves and applause. While I’m not sure another genre film of this one’s gross-out, dare-you-to-lose-your-dinner extremeness can take the Palme d’Or so soon after big winner “Titane” surely paved the way three years ago for “The Substance” to be in the competition at all, this return to form for lead Demi Moore would be a bold choice from the jury.

I’d more expect to see Fargeat in contention for Best Director, as jury president Greta Gerwig might want to support a female filmmaker in a competition lacking in them. There are just four among the 22 films competing for the Palme, and at least one, “Wild Diamond,” feels like Thierry Frémaux’s effort to round that total of women directors up, as debut feature filmmaker Agathe Riedinger’s French coming-of-ager would’ve fared better in Un Certain Regard.

“The Substance” stars Demi Moore as once-beloved actress Elisabeth Sparkle, now resigned to Jane Fonda-esque workout videos in place of a screen acting career, and for whom time has run out. She agrees to

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