Busan, South Korea – At this year’s Busan International Film Festival, Iranian filmmaker Mohammad Rasoulof, now living in exile in Germany, expressed optimism that his latest film, “The Seed Of The Sacred Fig,” being chosen as Germany’s official Oscars submission could inspire other filmmakers facing stringent censorship. Selected for the Best International Feature category, the film highlights challenges faced by artists in oppressive regimes, Rasoulof offered these comments while presiding over the New Currents jury.
Rasoulof, who fled Iran just before the Cannes film festival earlier this year, has faced significant political oppression for his work, most notably an eight-year prison sentence handed down by Iranian authorities for creating the film without a permit. Notably, the film was recognized with a Special Award at Cannes, where it competed despite the controversies surrounding its creation.
“The Seed Of The Sacred Fig,” largely funded and produced by German entities, wasn’t likely to be selected by Iran’s government-influenced Oscars committee, making Germany’s embrace of the film a significant cultural gesture. Rasoulof pointed out the importance of this support at a press conference, stating it demonstrated a significant opening toward diverse cultural expressions and human rights.
Rasoulof is not alone in facing such severe challenges. The festival’s jury includes voices from across the Asian cinematic landscape, such as Korean director Lee Myung Se, Chinese actress Zhou Dongyu, Indian actress Kani Kusruti, and Vanja Kaludjercic, director of the International Film Festival Rotterdam. Each brings unique perspectives from their respective cinematic spheres, underscored by the shared challenges many filmmakers face worldwide due to political and social constraints.
Lee provided insights into the struggles of the Korean film industry post-pandemic, stating that internal issues have impeded the industry’s recovery. He emphasized the importance of authenticity in film, a criterion he plans to focus on while judging entries in the festival’s New Currents competition.
Zhou, who first attended Busan as a debut actress in 2010, commented on the slowly improving political relations between China and South Korea, hoping for brighter prospects ahead, especially anticipating the 2025 year of cultural exchange.
Kusruti, involved in another controversial film, “All We Imagine As Light,” which was overlooked for India’s Oscar submission despite acclaim, praised the diversity currently present in Indian cinema, noting the flourishing of both commercial and independent sectors.
Echoing Kusruti’s sentiments, Kaludjercic highlighted the depth of Indian cinema, lamenting the festival’s limitations to showcase the breadth of films offered by the region due to logistical constraints.
The Busan International Film Festival, known for spotlighting emerging Asian filmmakers through its New Currents section, awards two winners with cash prizes, aiming to bolster the careers of directors just beginning to make their marks. This component of the festival reflects its broader commitment to cultivating a diverse and dynamic environment for film development and discourse — a mission that seems more pressing each year amid the myriad political pressures exerted on global cinema.