It clocks in at three hours but not a scene feels superfluous as its central quartet – dad, mum, two teenage daughters – squabble, fall out and finally implode in a subversive final act.
The film itself is a mesmerisingly gripping and controlled parable-thriller in which the paranoia, misogyny and rage of the Iranian state are mapped seamlessly onto an ordinary family unit.
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.
A victim of a politically motivated jail sentence for supporting the 2022 Masha Amini hijab protests, Rasoulof‘s latest feature will likely anger the Iranian government even more. Especially considering how brilliant “Sacred Fig” is at deconstructing the rampant injustice in the totalitarian state.
Eschewing the formal flare of his previous work, Rasoulof finds something more immediate here, a drama that burns like a political thriller and sears like a documentary.
It's a remarkable, revolutionary work of art. As precisely focused and tightly constructed as it is expansive in its aspirations, it’s a rallying cry for the irreplaceable value of artistic expression in a world that will repress it at all costs.
As Rasoulof intercuts real footage and fiction, we realize that what the family is going through is an extension of what the entire country has been facing.
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.
Beneath Rasoulof’s blistering rage erupts a wellspring of empathy: for young women, like Rezvan and Sana, fighting to be heard, and for wives and mothers, like Najmeh, participating in their own oppression.