Sean Rameswaram

It's got Iranian actors. It's got an Iranian director. It's very much about Iran. But it's Germany's submission to the Oscars. The director of this movie, Mohammad Rasoulaf, is in exile, but we caught up with him in New York City to ask him what it's like to make a movie secretly and why Germany is repping this super Iranian movie. We're doing the Oscars. Today explains Stott.

It's got Iranian actors. It's got an Iranian director. It's very much about Iran. But it's Germany's submission to the Oscars. The director of this movie, Mohammad Rasoulaf, is in exile, but we caught up with him in New York City to ask him what it's like to make a movie secretly and why Germany is repping this super Iranian movie. We're doing the Oscars. Today explains Stott.

It's got Iranian actors. It's got an Iranian director. It's very much about Iran. But it's Germany's submission to the Oscars. The director of this movie, Mohammad Rasoulaf, is in exile, but we caught up with him in New York City to ask him what it's like to make a movie secretly and why Germany is repping this super Iranian movie. We're doing the Oscars. Today explains Stott.

If it's a behavior, why not change it? This week on The Gray Area, I talk to Olga Hazan about our personalities and whether we can change them. Listen to The Gray Area with me, Sean Elling. New episodes every Monday, available everywhere.

If it's a behavior, why not change it? This week on The Gray Area, I talk to Olga Hazan about our personalities and whether we can change them. Listen to The Gray Area with me, Sean Elling. New episodes every Monday, available everywhere.

If it's a behavior, why not change it? This week on The Gray Area, I talk to Olga Hazan about our personalities and whether we can change them. Listen to The Gray Area with me, Sean Elling. New episodes every Monday, available everywhere.

That's just about all the English we got out of the seat of the Sacred Figs director. The rest of our conversation was done through a translator who was with him in his New York City hotel. We started with the craziest thing about this movie, that it was shot in secret in Tehran.

That's just about all the English we got out of the seat of the Sacred Figs director. The rest of our conversation was done through a translator who was with him in his New York City hotel. We started with the craziest thing about this movie, that it was shot in secret in Tehran.

That's just about all the English we got out of the seat of the Sacred Figs director. The rest of our conversation was done through a translator who was with him in his New York City hotel. We started with the craziest thing about this movie, that it was shot in secret in Tehran.

When people in our audience hear that this movie was filmed in secret in Iran, they might imagine, oh, there were a lot of interior shots, you know, scenes set inside buildings, scenes set inside apartments, whatever it might be. That's how you film a movie secretly.

When people in our audience hear that this movie was filmed in secret in Iran, they might imagine, oh, there were a lot of interior shots, you know, scenes set inside buildings, scenes set inside apartments, whatever it might be. That's how you film a movie secretly.

When people in our audience hear that this movie was filmed in secret in Iran, they might imagine, oh, there were a lot of interior shots, you know, scenes set inside buildings, scenes set inside apartments, whatever it might be. That's how you film a movie secretly.

But I was surprised when watching it that there are indeed shots of, you know, this family that the movie is about eating dinner together. Outside of a restaurant, you know, there's shots of people driving around Tehran. How do you do that secretly? Obviously, you have cameras when you're filming outside.

But I was surprised when watching it that there are indeed shots of, you know, this family that the movie is about eating dinner together. Outside of a restaurant, you know, there's shots of people driving around Tehran. How do you do that secretly? Obviously, you have cameras when you're filming outside.

But I was surprised when watching it that there are indeed shots of, you know, this family that the movie is about eating dinner together. Outside of a restaurant, you know, there's shots of people driving around Tehran. How do you do that secretly? Obviously, you have cameras when you're filming outside.

This movie, The Seat of the Sacred Fig, it follows a family being torn apart. A father who's part of the sort of establishment in Tehran and his supportive wife. And then their two daughters who are unhappy with the system and eager to join young women protesting in the streets. And it's very much set during the Masa Amini protests from a few years ago.

This movie, The Seat of the Sacred Fig, it follows a family being torn apart. A father who's part of the sort of establishment in Tehran and his supportive wife. And then their two daughters who are unhappy with the system and eager to join young women protesting in the streets. And it's very much set during the Masa Amini protests from a few years ago.

This movie, The Seat of the Sacred Fig, it follows a family being torn apart. A father who's part of the sort of establishment in Tehran and his supportive wife. And then their two daughters who are unhappy with the system and eager to join young women protesting in the streets. And it's very much set during the Masa Amini protests from a few years ago.

Why did you want to set a movie during those protests? And how did you come up with the idea for this family where all of the tensions we were seeing in the streets in Tehran were sort of manifested in this family unit?

Why did you want to set a movie during those protests? And how did you come up with the idea for this family where all of the tensions we were seeing in the streets in Tehran were sort of manifested in this family unit?