The strong gesture of Iranian filmmaker Mohammad Rasoulof at the Cannes Film Festival

After fleeing his country, Mohammad Rasoulof climbed the steps of the Festival holding the photo of the actors of his latest film, held in Iran.

The news broke at the beginning of the week. Mohammad Rasoulof would be present for this 77th edition of the Cannes Film Festival where his last film, Wild fig tree seeds, is in competition. The filmmaker had recently shared on social networks his flight from Iran where he was sentenced to a prison sentence of eight years, five of which are applicable, for “collusion against national security.” On the official festival website, the organizers state:

“We are particularly touched to welcome him here as a filmmaker with his film. Our joy will be that of all freedom-loving Iranians.”

Iran: Five years in prison for filmmaker Mohammad Rasoulof one week before the Cannes Film Festival

Yesterday evening, Rasoulof and part of the film crew – including his daughter, Baran Rasoulof, climbed the steps of the palace, applauded by the spectators, brandishing photographs of the actors held in Iran in front of the cameras around the world: Soheila Golestan And Missagh Zareh. In his rise, the winner of Un Certain Regard and a Golden Bear for The devil does not existwas also accompanied by the Iranian actress Golshiteh Farahni, came to support his comrade in exile. A gesture as courageous as the film it presents.

The latter was forced into exile in 2008 after playing without a veil in State lies by Ridley Scott and having been accused by Iranian authorities of working with the CIA. Today the voice of the revolution in Iran and of the women of her country, it was important for the actress to stand with Mohammad Rasoulof whose story of exile she shares.

Both guests on the set of the show C Ce Soir on Thursday, Golshiteh Farahni found herself moved when hearing the director talk about his departure:

“When I was crossing the border, I turned around. I was on top of a mountain and I took one last look at my homeland and I said to myself: 'I will go back there.' I think all Iranians who had to leave due to this totalitarian regime always keep a suitcase ready at home, in the hope that things will improve and they can return.”

Rather optimistic about the situation, he also recalled that although he physically left Iran, Iranian culture continues beyond the border, and ended with the complication linked to his film: “Why are the Iranian authorities afraid to hear our stories? Why do our voices scare them?”

Interviewed by France 3 region PACA, Farahni insisted on her support for the filmmaker:

“His exile has just begun, it's like a child who has just been born. He has just landed in the world of exile, in this wound, this uprooting, which will never be healed. I am here for him , in exile, we are there for each other.”

Upon entering the screening room, Mohammad Rasoulof was greeted by a long standing ovation which was repeated after the film was broadcast for twelve minutes – the longest standing ovation since the start of the festival. According to Varietywas also in the room the director of The ApprenticeAli Abbasi, who allegedly encouraged the applause, as well as a sign “Woman! Life! Freedom!” echoing the slogan of the women's rights movement in Iran.

Wild fig tree seeds tells the story of an investigating judge at Tehran's revolutionary court struck by distrust and paranoia as political protests intensify. For the first spectators, it's a Palme d'Or. But will the jury be as sensitive as the public? See you this Saturday to find out.

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