{"id":12543,"date":"2025-03-25T15:57:44","date_gmt":"2025-03-25T12:57:44","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=12543"},"modified":"2025-03-25T15:57:51","modified_gmt":"2025-03-25T12:57:51","slug":"vieti-sacre","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=12543","title":{"rendered":"Vie\u021bi sacre"},"content":{"rendered":"
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The Seed of the Sacred Fig<\/em>\/Dane-ye anjir-e ma\u2019abed<\/em> (2024, regia: Mohammad Rasoulof)<\/figcaption><\/figure>\n<\/div>\n\n\n

Inspirat\u0103 din fapte reale \u0219i filmat\u0103 \u00een \u00eentregime pe ascuns, pelicula iranian\u0103 Semin\u021bele smochinului sacru<\/em>, \u00een regia lui Mohammad Rasoulof, surprinde drama unei familii ce \u00ee\u0219i schimb\u0103 complet dinamica de \u00eendat\u0103 ce tat\u0103l, Iman (interpretat de Missagh Zareh), este numit judec\u0103tor de investiga\u021bie \u00een Teheran. Pe m\u0103sur\u0103 ce revoltele stradale devin tot mai numeroase, Iman \u00ee\u0219i d\u0103 seama c\u0103 slujba sa este mai periculoas\u0103 dec\u00e2t credea, amplific\u00e2ndu-i paranoia \u0219i violen\u021ba \u0219i distrug\u00e2nd nu doar \u00eencrederea propriilor fete \u0219i a so\u021biei loiale, ci spulber\u00e2nd orice urm\u0103 de umanitate din el.<\/p>\n\n\n\n

Aduc\u00e2nd \u00eentr-o zi acas\u0103 o arm\u0103 de serviciu, Iman nu o mai g\u0103se\u0219te \u0219i \u00ee\u0219i \u00eendreapt\u0103 furia asupra propriei so\u021bii \u0219i asupra fiicelor sale, Sana \u0219i Rezvan, c\u0103rora le impune m\u0103suri exagerate, p\u00e2n\u0103 g\u0103se\u0219te r\u0103spunsurile potrivite. Le supune pe toate trei unor \u0219ocuri psihologice \u0219i le duce departe de Teheran, pentru a-\u0219i salva pielea atunci c\u00e2nd numele s\u0103u \u0219i adresa devin publice.<\/p>\n\n\n\n

Fiindc\u0103 regimul politic distruge p\u00e2n\u0103 \u0219i rela\u021biile din interiorul unei familii, corod\u00e2nd orice valoare, nici rela\u021bia judec\u0103torului Iman cu fiicele sale nu r\u0103m\u00e2ne nealterat\u0103. Disp\u0103r\u00e2nd de-a lungul zilei din via\u021ba familiei, deoarece duce o munc\u0103 istovitoare \u0219i e important pentru el s\u0103 \u00eei fie validat\u0103 noua func\u021bie, Iman este tot mai zelos la serviciu, unde putem presupune c\u0103 semneaz\u0103 condamn\u0103ri la moarte pe band\u0103 rulant\u0103, iar acas\u0103 este iubit, sprijinit \u0219i onorat de Najmeh (interpretat\u0103 admirabil de Soheila Golestani), so\u021bia sa, ca un fel de semi-zeu.  <\/p>\n\n\n\n

Casnic\u0103 educat\u0103, Najmeh pare un fel de Vestal\u0103 condamnat\u0103 s\u0103 \u00ee\u0219i ascund\u0103 sub v\u0103luri \u0219i hijab \u0219i haine cernite, p\u00e2n\u0103 \u00een p\u0103m\u00e2nt, talentul de gospodin\u0103-farmazoan\u0103. Are grija casei, dar \u0219i responsabilitatea de a nu l\u0103sa s\u0103 \u00eei fie afectat\u0103 \u00een niciun fel imaginea lui Iman, \u00een noua sa calitate de judec\u0103tor la Tribunalul Revolu\u021bionar din Teheran. C\u00e2nd fetele \u00eei cer ajutorul s\u0103 o ad\u0103posteasc\u0103 pe o t\u00e2n\u0103r\u0103 student\u0103, coleg\u0103 a lui Rezvan la universitate, dup\u0103 o revolt\u0103 \u00een\u0103bu\u0219it\u0103 violent, Najmeh i-l ofer\u0103 cu mult\u0103 dib\u0103cie, dar \u0219i cu mult\u0103 fric\u0103, dar nu o poate g\u0103zdui peste noapte, pentru ca nu cumva s\u0103 afle Iman.<\/p>\n\n\n\n

\u00cen interiorul casei, fetele pare c\u0103 nu se deosebesc de alte adolescente sau tinere de v\u00e2rsta lor din Occident: ascult\u0103 muzic\u0103, \u00ee\u0219i fac unghiile (pe care le \u0219terg \u00eens\u0103 imediat, de teama tat\u0103lui), merg pe bicicleta de apartament. \u00cen prima parte a filmului, am avea impresia c\u0103 fetele lui Iman sunt ni\u0219te r\u0103sf\u0103\u021bate \u0219i c\u0103 dezvolt\u0103 probleme cu autoritatea patern\u0103, \u00eens\u0103 relieful cinematografic al lui Rasoulof nu este deloc at\u00e2t de banal, a\u0219a cum \u0219tim \u0219i din produc\u021biile anterioare, care surprind conflicte morale puternice \u0219i teme ca libertatea individual\u0103, corup\u021bia, injusti\u021bia, problematica pedepsei cu moartea ori crima \u00een numele divinit\u0103\u021bii, de la The White Meadows<\/em> (Keshtzar haye sepid<\/em>, 2009) la Manuscripts Don\u2019t Burn<\/em> (Dast-neveshtehaa nemisoosand<\/em>, 2013), premiat la Cannes, Hamburg \u0219i Luxemburg ori Un homme int\u00e8gre<\/em> (Lerd<\/em>, 2017) \u0219i There Is No Evil<\/em> (Sheytan vojood nadarad<\/em>, 2020), c\u00e2\u0219tig\u0103tor al Globului de Aur la Berlin.<\/p>\n\n\n\n

Din pelicula lui Rasoulof transpare umanitatea vulnerabil\u0103, care devine carne de tun sub presiunea continu\u0103 a terorii sociale \u0219i a psihozei religioase. Un alt mesaj foarte puternic care se desprinde din film este c\u0103 nimeni nu este ocolit de r\u0103ul absolut, care ia numeroase forme. Nici m\u0103car dimensiunea artistic\u0103 nu constituie o cale de salvare \u00eentr-o epoc\u0103 \u00een care vorbim de totalitarisme religioase. Pe l\u00e2ng\u0103 scenele domestice, filmate \u00een interior, apar secven\u021be extrem de dure, preluate fie din \u00eenregistr\u0103ri cu telefonul pe strad\u0103, \u00een timpul represiunilor, fie cu vreo camer\u0103 ascuns\u0103, care \u0219ocheaz\u0103 prin bestialitate \u0219i prin striden\u021ba realit\u0103\u021bii, fiind alese prin for\u021ba emo\u021biilor suscitate. \u00cen timpul protestelor din Iran, jurnali\u0219tilor li s-a interzis s\u0103 participe \u0219i s\u0103 documenteze aceste momente de brutalitate, astfel c\u0103 participan\u021bii la mi\u0219carea \u201eWoman, Life, Freedom\u201d\/\u201eFemeie, Via\u021b\u0103, Libertate\u201d au filmat cu telefoanele \u0219i au postat anonim \u00eenregistr\u0103rile.<\/p>\n\n\n\n

Tensiunea cre\u0219te de la o secven\u021b\u0103 la alta. Spre deosebire de There Is No Evil<\/em> (compus din patru secven\u021be independente), \u00een The Seed of the Sacred Fig<\/em>, e o fractur\u0103 \u00eentre scenele de interior \u0219i cele filmate outdoor<\/em>. Urm\u0103rirea prin cetatea pustie, c\u00e2nd to\u021bi eroii apar \u00eentr-un singur cadru (\u00een timp ce fiecare se ascunde de cel\u0103lalt), cap\u0103t\u0103 o for\u021b\u0103 aparte.<\/p>\n\n\n\n

Thriller politic, Semin\u021bele smochinului sacru<\/em>\/The Seed of the Sacred Fig<\/em> a primit la Cannes premiul special al juriului, fiind un film care a st\u00e2rnit multe controverse. \u00centr-un interviu recent, regizorul iranian (aflat \u00een exil autoimpus \u00een Germania, dup\u0103 ce a fost condamnat la opt ani de \u00eenchisoare), afirma leg\u0103tura intrinsec\u0103 dintre puterea artei de a-i salva pe actori \u0219i regizor deopotriv\u0103 \u0219i necesitatea de a expune adev\u0103rul: \u201ecu c\u00e2t cre\u0219te importan\u021ba filmului, cu c\u00e2t devine mai notoriu, cu at\u00e2t echipa regizoral\u0103 va fi mai protejat\u0103, at\u00e2t \u00een Iran, c\u00e2t \u0219i \u00een afara \u021b\u0103rii\u201d. Mai mult dec\u00e2t at\u00e2t, \u201eun astfel de impact poate da speran\u021b\u0103 tuturor cinea\u0219tilor care lucreaz\u0103 \u00eentre grani\u021bele unui regim represiv. Ceea ce m\u0103 bucur\u0103 este c\u0103 tinerii din Iran se simt tot mai puternici \u0219i mai capabili s\u0103 demonteze restric\u021biile impuse de guvern\u201d. Lucr\u00e2nd cu actori expresivi \u0219i foarte talenta\u021bi, unii dintre ei aleg\u00e2nd s\u0103 plece din Iran, al\u021bii asum\u00e2ndu-\u0219i c\u0103 vor fi b\u0103tu\u021bi, h\u0103r\u021bui\u021bi sau condamna\u021bi la \u00eenchisoare, de la Missagh Zareh (Iman) \u0219i Soheila Golestani (Najmeh) la tinerele Mahsa Rostami (Rezvan) \u0219i Setareh Maleki (Sana), Niousha Akhshi (Sadaf), Reza Akhlaghirad (Ghaderi), Shiva Ordooie (Fatemeh), Amineh Mazrouie Arani (femeia din ma\u0219in\u0103), regizorul iranian Mohammad Rasoulof are t\u0103ria de a expune o societate \u00een care libertatea individual\u0103 este anulat\u0103 \u00een numele unui Dumnezeu nemilos. Finalul (de dinainte de final) are o \u00eenc\u0103rc\u0103tur\u0103 simbolic\u0103, fiindc\u0103 fata cea mai mic\u0103, de\u0219i apas\u0103 pe tr\u0103gaci, nu are inten\u021bia de a-\u0219i ucide tat\u0103l (nu o crim\u0103 comis\u0103 de un t\u00e2n\u0103r ar fi fost rezolvarea acestei tragedii), ci de a-l speria, dar podeaua de p\u0103m\u00e2nt se surp\u0103 sub greutatea b\u0103rbatului. Scena aceasta, filmat\u0103 \u00eentr-o cetate nelocuit\u0103, este urmat\u0103 de o secven\u021b\u0103 filmat\u0103 cu telefonul, \u00een care sunt uci\u0219i tineri \u00een plin\u0103 strad\u0103, iar s\u00e2ngele \u0219iroie\u0219te pe \u0219osea.<\/p>\n","protected":false},"excerpt":{"rendered":"

Cronic\u0103 de film de Irina-Roxana Georgescu<\/p>\n","protected":false},"author":21,"featured_media":12544,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[51,62],"tags":[178,406,142,141,2384],"coauthors":[1223],"class_list":["post-12543","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arte","category-cinemascop","tag-anunturi","tag-arte","tag-cinemascop","tag-irina-roxana-georgescu","tag-nr-1-2025"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2025\/03\/The-Seed-of-the-Sacred-Fig.webp","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/12543","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/users\/21"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=12543"}],"version-history":[{"count":2,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/12543\/revisions"}],"predecessor-version":[{"id":12546,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/12543\/revisions\/12546"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/12544"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=12543"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=12543"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=12543"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=12543"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}