The film is “about people taking responsibility” for their actions and “each story is based on my own experience”
---Director Mohammad Rasoulof, quoted from BBC News on the Wikipedia page on the film There Is No Evil
Most filmgoers around the world might not have heard of Mohammad Rasoulof, an Iranian film director. He is one of most courageous filmmakers in the world today making amazing, well-crafted, award-winning films on morality within Iranian society, governed by rules that wreck the lives of its conscientious citizens. The seven feature films he made have upset the Iranian government authorities who do not appreciate dissenting views while his films gathered plaudits and awards worldwide. Both he and another relatively more famous film director Jafar Panahi are facing jail terms, currently in suspension, for highlighting some of the ills within the country. While the Damocles’ sword of prison time has cowed down Mr Panahi, Mr Rasoulof has come out with his most hard-hitting film yet-- There Is No Evil--which is arguably one of the best films of 2020 worldwide, in terms of content and quality and one of the best films from Iran over the decades. That it won top honors at the Berlin Film Festival is no surprise.
Director Rasoulof's daughter Baran plays an
interesting role in the fourth segment--"Kiss her"
The actor: Mohammad Seddighimehr
What is the film about? The four segments of this portmanteau film deal with four male characters who either hanged prisoners or objected to hanging condemned prisoners, often during their forced conscription for military duty or for economic necessity of bringing “home the bacon” in one case or, in the case of a tertiary character in the film, for covering the medical bills of a family member. None of the four enjoy their activity. In some segments, their close family are well aware of the decisions they make; in some, their dark activity is never fully revealed to their loved ones. And what are the crimes of the prisoners who are executed? Some are murderers, some are drug peddlers, some are political activists or believers in other faiths than those allowed to be practiced in the country by rigid Islamists.
Apparently if a conscripted soldier refuses to hang a condemned prisoner in Iran, you are punished by being given other tough and distasteful tasks, additional time to serve in the military, refusal of a driving license and a required permit to travel abroad. Your life becomes a living hell if you abide by your conscience.
To be involved in hanging a condemned man
or not is the question
The awesome aspect of Rasoulof’s scriptwriting lies in the contrasting details of the thoughtful scriptwriting. Those who hang condemned prisoners, even if it is for the sake of their family’s economic survival, and after regularly collecting their salaries and their rationed rice for their apparent remorseless activity, reveal a kind heart while discussing upset school girls from broken families or saving kittens stuck in unlikely places. On the flip side, conscientious objectors to hanging convicted human beings in the film refuse to kill foxes that harm their own livestock and choose instead to feed them with food enabling them to survive. One of Rasoulof’s hangmen who is quiet about the work he does also exhibits silent remorse as he stops his car at a red light and doesn’t move on when the lights turn green, on his way to work. The camera merelycaptures the unmoving car which does ultimately move after a while. What an imaginative way to capture the mind of a sullen, seemingly unperturbed individual!
The car scenes like this one
can be found in all the four segments.
There is a strange common denominator in the films of Abbas
Kiarostami (Certified Copy; A Taste of
Cherry; Ten), Jafar Panahi (Taxi;
3 Faces), Reza Mirkarimi (Castle of
Dreams) and Mohammad Rasoulof (There
Is No Evil) in their propensity to film actors sitting in front seats of moving
cars often, if not always, in non-studio shots. It is possible that these
directors look at economics of filmmaking, ability to get reactions in real
time of two or more actors in a single shot, or both. Yet this method of
filming has only raised the distinct stamp of creativity of these directors in
some of their important and celebrated recent works.
An evocative shot beautifully composed
and balanced by the cinematographer and the director.
That shot visually encapsulates an entire segment
The actress is Mehtab Servati
If we go by information available on the IMdB website, it is quite possible that many of the male actors in There Is No Evil are either non-professionals making their debut or they have never acted in films sufficiently famous to be included on that website. It is indeed a remarkable achievement for Rasoulof to cast them and get fascinating outcomes.
While Rasoulof’s personal views on death penalty is obvious, the film's strength lies in his astute development of interactions of various major characters, often within their family or a family of a close friend. The infusion of unusual details in the screenplay clearly surpasses his efforts in his past films, such as Good Bye and A Man of Integrity. Here he uses cats, foxes and even honey bees to add value to the conversation of the main characters in the four segments (There is no evil; She said ”You can do it; Birthday; Kiss me) of the film There Is No Evil. If there is an element where the viewers have to suspend their disbelief in what they are watching, it would be portions of the second segment. But to the credit of the director/screenplay writer that weak segment is also the most entertaining amongst the four. But who cares? The somber value of the other segments more than makes up for it. The film is essentially about moral strength of its four characters not one providing popular entertainment.
Rasoulof and his contemporaries among Iranian directors are blessed with a range of beautiful and talented actresses—and this film is a testament to that factor. Rasoulof considerably depends on them. While his male protagonists may appear to have lead roles, their female counterparts in each segment have equally demanding and more commanding roles in his films and in this one in particular.
This film is in many ways close to Christian, Buddhist, Jainist, and humanist tenets though it is made by an Islamic cast and crew. It is essentially a film about respect for human life and that of animals.
The strength of There Is No Evil is based on several unusual elements—the ability of Rasoulof to make yet another film that could upset many in the Iranian government and judiciary while having a suspended jail term to serve out; writing a fascinating original script based on his own experience; wonderful casting of actors that include Rasoulof’s daughter in a major role in the final segment; and the intelligent cinematography by Askhan Askhani (who also worked on Rasoulof’s A Man of Integrity). While it is quite predictable that Iran will never nominate There Is No Evil to the Oscars, one hopes it gets nominated in the categories of direction and screenplay by the Oscar authorities, rules permitting.
P.S. There Is No Evil won the Golden Bear for the best film, the Prize of the Ecumenical film Jury, and the Guild Prize for director Rasoulof at the 2020 Berlin film festival. It has also won the Grand Prize at the Heartland international film festival, Indiana (USA), and the Special Jury Prize of the Crested Butte Festival (USA) for “courage in filmmaking.”The film is participating in the 2020 Denver Film Festival, USA. Rosoulof's earlier films Good Bye (2011) and A Man of Integrity (2017), Kiarostami's Certified Copy (2010), Panahi's Taxi (2015) and Mirkarimi's Castle of Dreams (2019) have been reviewed on this blog earlier as also Kieslowski's Dekalog 5 (1988), a major cinematic statement on capital punishment from Poland. (Click on the names of the films in this post script to access the reviews)
