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Review: A tense household becomes a metaphor for Iran's divisions in 'The Seed of the Sacred Fig'

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Review: A tense household becomes a metaphor for Iran's divisions in 'The Seed of the Sacred Fig'

Reality seeps into “The Seed of the Sacred Fig” in multiple ways, including ones that writer-director Mohammad Rasoulof couldn’t have imagined back when he shot this absorbing drama in secret. One of Iran’s signature filmmakers — and among those most often in the theocratic government’s crosshairs — the 52-year-old auteur, now living in exile in Europe, tells the story of a family whose social standing becomes threatened by simmering societal tensions right outside their door. In order to preserve the rigid status quo, the clan’s patriarch will do everything he can to keep the winds of change from invading his household and affecting his wife and daughters. By making the political personal, Rasoulof warns us that repression starts at home.

Misagh Zare stars as Iman, who has just been promoted to investigating judge in the Revolutionary Court, a reward for 20 years as a dedicated attorney. His supportive wife, Najmeh (Soheila Golestani), is proud of him but also excited for what this new job means for them and their children, willful 21-year-old Rezvan (Mahsa Rostami) and insecure teen Sana (Setareh Maleki). They’ll receive a spacious home in a better section of Tehran, and maybe they can finally buy that dishwasher Najmeh has been craving. But Iman warns his family that, since judges are demonized in Iranian society, they need to be careful not to spread this news around. Underlining the occupational hazards awaiting Iman, he has been issued a gun for his protection.

As soon as Iman shows his alarmed wife that gun (it’s loaded, but he assures her the safety is on), audiences can start worrying about precisely when the weapon will go off. Provocatively, Rasoulof makes no attempt to hide his story’s metaphors or plot twists. If anything, he boldly foreshadows the darkness just on the horizon, shooting his drama austerely, the weight of inevitable doom hanging over everything.

Over the last 15 years, Rasoulof (“Manuscripts Don’t Burn,” “There Is No Evil”) has been imprisoned multiple times and had his passport confiscated, accused of spreading anti-government propaganda through his politically pointed films. “The Seed of the Sacred Fig” was inspired by one such jail stint in 2022, which occurred during the same time as that summer’s “Woman, Life, Freedom” uprising, sparked by the death of 22-year-old student Mahsa Amini while in the custody of the police, who arrested her for not wearing a hijab in public. (Authorities claimed Amini died of a heart attack, but her family insisted they fatally beat her.)

Those real-life events strike a match that lights the film’s slow fuse. Initially, Rezvan and Sana express frustration that their father’s new job requires them to conduct themselves “properly” outside the house. (Who knows who might be monitoring their social media presence?) But soon, it’s impossible for them or their mother to miss the violent protests in the wake of Amini’s death. Najmeh steadfastly echoes what she sees on state-run news services — Amini’s death was an accident — whereas her daughters, getting information on their smartphones, strongly suspect otherwise. And then Rezvan’s college friend Sadaf (Niousha Akhshi) is accidentally trapped in a campus protest, her face obliterated by buckshot fired by police. Long maintaining that the protesters are just thugs, Najmeh painfully removes the rounds from Sadaf’s bleeding wounds, her assumptions about the government she’s loyally obeyed falling away.

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A film about complicity and denial, “The Seed of the Sacred Fig” examines how a seemingly reasonable husband and wife can tacitly support this national charade. Iman quickly learns that the “investigating” part of his job title is more of a suggestion: He is expected to sign death warrants for individuals the prosecutor has demanded be executed. At first, his conscience bothers him, but Zare’s performance is a wonder of quiet rationalization as Iman gradually decides that going along is better than making waves. A man of no strong principles beyond protecting his status, Iman is by turns pathetic and terrifying, the latter occurring when Iman discovers that his gun has gone missing, an oversight that could lose him his promotion. His fervor to determine who took the weapon reveals a shockingly monstrous side, turning his wife and children into frightened suspects and leading to a jarring tonal-shift ending that proves to be a cathartic, believable final destination for a film simmering with mistrust and anger.

Anticipating his movie’s inflammatory subject matter, Rasoulof had to cast and film “The Seed of the Sacred Fig” without tipping off the authorities. That knowledge adds additional layers of defiance and bravery to this grim tale, which incorporates actual protest footage and video of police brutality to amplify the narrative’s verisimilitude. But ugly reality imposed itself unpredictably as well. Shortly before the film’s Cannes premiere, Rasoulof was once again sentenced — this time, for eight years in prison. Instead, he fled Iran, arriving at the festival screening to a hero’s welcome. The sorrow and hope interwoven through “The Seed of the Sacred Fig” are vibrant but also bittersweet, considering that Rasoulof had to escape his homeland for telling the truth about the oppressive regime seeking to silence him.

“The Seed of the Sacred Fig” may open on Iman, but eventually, the focus shifts to Najmeh and her daughters, who are positioned as the possibility for liberating Iran from its regressive, patriarchal government. Rezvan and Sana are young and smart enough to recognize the regime’s cruelty, which makes Najmeh’s evolving mindset the film’s emotional center. Golestani shines as a woman clinging to her illusions — about a wife’s place, about women’s second-class status — because she’s never permitted herself to think any other way. The actor, like everyone else in “The Seed of the Sacred Fig” who took part at grave risk, makes that awakening moving. Najmeh thinks she’s saving her daughters — they may end up freeing her instead.

‘The Seed of the Sacred Fig’

In Persian with English subtitles

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Rated: PG-13, for disturbing violent content, bloody images, thematic content, some language and smoking

Running time: 2 hours, 48 minutes

Playing: Opens Wednesday, Nov. 27, AMC Century City

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Movie Reviews

1986 Movie Reviews – Black Moon Rising | The Nerdy

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1986 Movie Reviews – Black Moon Rising | The Nerdy
by Sean P. Aune | January 10, 2026January 10, 2026 10:30 am EST

Welcome to an exciting year-long project here at The Nerdy. 1986 was an exciting year for films giving us a lot of films that would go on to be beloved favorites and cult classics. It was also the start to a major shift in cultural and societal norms, and some of those still reverberate to this day.

We’re going to pick and choose which movies we hit, but right now the list stands at nearly four dozen.

Yes, we’re insane, but 1986 was that great of a year for film.

The articles will come out – in most cases – on the same day the films hit theaters in 1986 so that it is their true 40th anniversary. All films are also watched again for the purposes of these reviews and are not being done from memory. In some cases, it truly will be the first time we’ve seen them.

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This time around, it’s Jan. 10, 1986, and we’re off to see Black Moon Rising.

Black Moon Rising

What was the obsession in the 1980s with super vehicles?

Sam Quint (Tommy Lee Jones) is hired to steal a computer tape with evidence against a company on it. While being pursued, he tucks it in the parachute of a prototype vehicle called the Black Moon. While trying to retrieve it, the car is stolen by Nina (Linda Hamilton), a car thief working for a car theft ring. Both of them want out of their lives, and it looks like the Black Moon could be their ticket out.

Blue Thunder in the movies, Airwolf and Knight Rider on TV, the 1980s loved an impractical ‘super’ vehicle. In this case, the car plays a very minor role up until the final action set piece, and the story is far more about the characters and their motivations.

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The movie is silly as you would expect it to be, but it is never a bad watch. It’s just not anything particularly memorable.

1986 Movie Reviews will continue on Jan. 17, 2026, with The Adventures of the American Rabbit, The Adventures of Mark Twain, The Clan of the Cave Bear, Iron Eagle, The Longshot, and Troll.


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Commentary: California made them rich. Now billionaires flee when the state asks for a little something back.

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Commentary: California made them rich. Now billionaires flee when the state asks for a little something back.

California helped make them the rich. Now a small proposed tax is spooking them out of the state.

California helped make them among the richest people in the world. Now they’re fleeing because California wants a little something back.

The proposed California Billionaire Tax Act has plutocrats saying they are considering deserting the Golden State for fear they’ll have to pay a one-time, 5% tax, on top of the other taxes they barely pay in comparison to the rest of us. Think of it as the Dust Bowl migration in reverse, with The Monied headed East to grow their fortunes.

The measure would apply to billionaires residing in California as of Jan. 1, 2026, meaning that 2025 was a big moving year month among the 200 wealthiest California households subject to the tax.

The recently departed reportedly include In-n-Out Burger owner and heiress Lynsi Snyder, PayPal co-founder and conservative donor Peter Thiel, Venture Capitalist David Sacks, co-founder of Craft Ventures, and Google co-founder Larry Page, who recently purchased $173 million worth of waterfront property in Miami’s Coconut Grove. Thank goodness he landed on his feet in these tough times.

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The principal sponsor behind the Billionaire Tax Act is the Service Employees International Union-United Healthcare Workers West (SEIU-UHW), which contends that the tax could raise a $100 billion to offset severe federal cutbacks to California’s public education, food assistance and Medicaid programs.

The initiative is designed to offset some of the tax breaks that billionaires received from the One Big Beautiful Bill Act recently passed by the Republican-dominated Congress and signed by President Trump.

According to my colleague Michael Hiltzik, the bill “will funnel as much as $1 trillion in tax benefits to the wealthy over the next decade, while blowing a hole in state and local budgets for healthcare and other needs.”

The drafters of the Billionaire Tax Act still have to gather around 875,000 signatures from registered voters by June 24 for the measure to qualify on November’s ballot. But given the public ire toward the growing wealth of the 1%, and the affordability crisis engulfing much of the rest of the nation, it has a fair chance of making it onto the ballot.

If the tax should be voted into law, what would it mean for those poor tycoons who failed to pack up the Lamborghinis in time? For Thiel, whose net worth is around $27.5 billion, it would be around $1.2 billion, should he choose to stay, and he’d have up to five years to pay it.

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Yes, it’s a lot … if you’re not a billionaire. It’s doubtful any of the potentially affected affluents would feel the pinch, but it could make a world of difference for kids depending on free school lunches, or folks who need medical care but can’t afford it because they’ve been squeezed by a system that places much of the tax burden on them.

According to the California Budget & Policy Center, the bottom fifth of California’s non-elderly families, with an average annual income of $13,900, spend an estimated 10.5% of their incomes on state and local taxes. In comparison, the wealthiest 1% of families, with an average annual income of $2.0 million, spend an estimated 8.7% of their incomes on state and local taxes.

“It’s a matter of values,” Rep. Ro Khanna (D-Fremont) posted on X. “We believe billionaires can pay a modest wealth tax so working-class Californians have Medicaid.”

Many have argued losing all that wealth to other states will hurt California in the long run.

Even Gov. Gavin Newsom has argued against the measure, citing that the wealthy can relocate anywhere else to evade the tax. During the New York Times DealBook Summit last month, Newsom said, “You can’t isolate yourself from the 49 others. We’re in a competitive environment.”

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He has a point, as do others who contend that the proposed tax may hurt California rather then help.

Sacks signaled he was leaving California by posting an image of the Texas flag on Dec. 31 on X and writing: “God bless Texas.” He followed with a post that read, “As a response to socialism, Miami will replace NYC as the finance capital and Austin will replace SF as the tech capital.”

Arguments aside, it’s disturbing to think that some of the richest people in the nation would rather pick up and move than put a small fraction of their vast California-made — or in the case of the burger chain, inherited — fortunes toward helping others who need a financial boost.

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‘Song Sung Blue’ movie review: Hugh Jackman and Kate Hudson sing their hearts out in a lovely musical biopic

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‘Song Sung Blue’ movie review: Hugh Jackman and Kate Hudson sing their hearts out in a lovely musical biopic

A still from ‘Song Sung Blue’.
| Photo Credit: Focus Features/YouTube

There is something unputdownable about Mike Sardina (Hugh Jackman) from the first moment one sees him at an Alcoholics Anonymous meeting celebrating his 20th sober birthday. He encourages the group to sing the famous Neil Diamond number, ‘Song Sung Blue,’ with him, and we are carried along on a wave of his enthusiasm.

Song Sung Blue (English)

Director: Craig Brewer

Cast: Hugh Jackman, Kate Hudson, Michael Imperioli, Ella Anderson, Mustafa Shakir, Fisher Stevens, Jim Belushi

Runtime: 132 minutes

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Storyline: Mike and Claire find and rescue each other from the slings and arrows of mediocrity when they form a Neil Diamond tribute band

We learn that Mike is a music impersonator who refuses to come on stage as anyone but himself, Lightning, at the Wisconsin State Fair. At the fair, he meets Claire (Kate Hudson), who is performing as Patsy Cline. Sparks fly between the two, and Claire suggests Mike perform a Neil Diamond tribute.

Claire and Mike start a relationship and a Neil Diamond tribute band, called Lightning and Thunder. They marry and after some initial hesitation, Claire’s children from her first marriage, Rachel (Ella Anderson) and Dayna (Hudson Hensley), and Mike’s daughter from an earlier marriage, Angelina (King Princess), become friends. 

Members from Mike’s old band join the group, including Mark Shurilla (Michael Imperioli), a Buddy Holly impersonator and Sex Machine (Mustafa Shakir), who sings as James Brown. His dentist/manager, Dave Watson (Fisher Stevens), believes in him, even fixing his tooth with a little lightning bolt!

The tribute band meets with success, including opening for Pearl Jam, with the front man for the grunge band, Eddie Vedder (John Beckwith), joining Lightning and Thunder for a rendition of ‘Forever in Blue Jeans’ at the 1995 Pearl Jam concert in Milwaukee.

There is heartbreak, anger, addiction, and the rise again before the final tragedy. Song Sung Blue, based on Greg Kohs’ eponymous documentary, is a gentle look into a musician’s life. When Mike says, “I’m not a songwriter. I’m not a sex symbol. But I am an entertainer,” he shows that dreams do not have to die. Mike and Claire reveal that even if you do not conquer the world like a rock god, you can achieve success doing what makes you happy.

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ALSO READ: ‘Run Away’ series review: Perfect pulp to kick off the New Year

Song Sung Blue is a validation for all the regular folk with modest dreams, but dreams nevertheless. As the poet said, “there’s no success like failure, and failure’s no success at all.” Hudson and Jackman power through the songs and tears like champs, leaving us laughing, tapping our feet, and wiping away the errant tears all at once.

The period detail is spot on (never mind the distracting wigs). The chance to hear a generous catalogue of Diamond’s music in arena-quality sound is not to be missed, in a movie that offers a satisfying catharsis. Music is most definitely the food of love, so may we all please have a second and third helping?

Song Sung Blue is currently running in theatres 

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