Mohammad Rasoulof

Mohammad Rasoulof nyaéta sinéas independen Iran anu hirup di pangasingan di Éropa. Anjeunna kasohor ku sababaraha karyana anu berhasil meunangkeun pangajén, kaasup di antawisna, The Twilight (2002), Iron Island (2005), Goodbye (2011), Manuscripts Don't Burn (2013), A Man of Integrity (2017), jeung There is No Evil (2020).

Taun 2025, pilem anjeunna nu panganyarna, The Seed of the Sacred Fig asup kana nominasi Pilem Panjang Internasional dibawa ku nagara Jérman.

Cutatan

• I think I have to accept that in order to see changes and reform in the structure of the country. We have to pay a price and every person will pay some price.
  • Sim kuring pikir sim kuring kudu narima éta pikeun bisa ningali parobahan sarta pangwangunan ulang dina struktur ieu nagara. Urang kudu mayar hiji harga, jeung unggal jalma téh bakal mayar hargana.
• Laws only deserve our respect as long as they improve interpersonal relationships and life in society. However, if they serve to promote violence... then they must be revised as a matter of urgency.
  • Hukum téh ngan pantes dihargaan ku urang salila éta téh ngaronjatkeun hubungan interpersonal jeung kahirupan di masarakat. Sanajan kitu, nanging éta ngabakti pikeun ngarojong katelengesan... lajeng éta téh kudu diralat salaku urusan anu dibutuhkeun.
• I decided to put away allegorical and metaphorical language because I felt it was a form of self-censorship. I decided to be myself. What matters to a dictatorship is that you aren't yourself.
  • Sim kuring mutuskeun pikeun nyingkirkeun bahasa alégori jeung métapora kusabab sim kuring ngarasa éta téh bentuk sénsor pikeun diri sorangan. Sim kuring mutuskeun pikeun jadi diri kuring sorangan. Anu pangutamana pikeun kadiktatoran téh nyaéta anjeun lain diri anjeun sorangan.
• The women’s movement in Iran has a long history and in the last episode of it, which was the Woman, Life, Freedom movement, we were caught by surprise. The new generation has a very different approach to the meaning of resistance and the meaning of life. In the previous generations, death was glorified in the fight and in resistance. A big difference with the new generation is that they fight for freedom, they fight for life, and they glorify life and they put value in the act of fighting for life, not for death. So their perceptions of life, their understandings of life are very different than what the previous generations understood. The new generation has a very large communication with the world around them and it sees itself as part of the world around it through, of course, social media.
  • Gerakan wanoja di Iran téh miboga sajarah anu panjang jeung dina épisode terahirna téh, nyaéta gerakan Wanoja, Hirup, Kabébasan, urang sadaya téh teu kasawang sateuacanna. Generasi anyar miboga pandeukeutan anu kacida bédana pikeun harti tina perlawanan sarta harti kahirupan. Di generasi sateuacanna, maot téh diagungkeun dina perjoangan jeung perlawanan. Pangbéda anu badag tina generasi anyar téh nyaéta aranjeunna berjoang pikeun kabébasan, aranjeunna berjoang pikeun kahirupan, sarta aranjeunna ngagungkeun kahirupan jeung anjeunna méré niléy dina usaha berjoang pikeun kahirupan, lain jang maot. Janten persépsi anjeunna ngeunaan kahirupan, pamahaman aranjeunna ngeunaan kahirupan téh kacida bédana jeung anu dipikaharti ku generasi saacanna. Generasi anyar téh miboga komunikasi anu gedé jeung dunya sabudeureun aranjeunna sarta éta téh ningali dirina sorangan salaku bagéan tina dunya éta ngaliwatan, tos pasti, média sosial.