There Is No Evil

There Is No Evil is an internationally acclaimed Iranian film shot in 2020. It is a bold piece of cinema that dwells on the human condition, illustrating the inescapable influence and consequences of political dynamics on personal lives. Directed by globally recognized director Mohammad Rasoulof, the film boasts the performances of talented actors including Zhila Shahi, Ehsan Mirhosseini, and Baran Rasoulof.

The film is constructed in a unique format, with four stories that present a canvas of diverse characters, each showcasing different facets of life in modern Iran. The central theme of the film, which connects the four narratives, revolves around the concept of evil from socially and psychologically intricate perspectives. Though the narratives are distinct, they are all built around the contentious issue of capital punishment in Iran – a sensitive topic that the film presents with immense ingenuity.

The structure of the film is not linear. It moves from one story to the next, a technique that increases the intensity of the narratives and keeps the audience engrossed. With each episode in the film, the audience is exposed to a different set of characters dealing with their unique predicaments. However, these stories are tied together by a central moral question, examining the boundaries of personal freedom and social responsibility in a heavily controlled environment.

There Is No Evil begins with a depiction of the banality of evil. The first story is potently mundane, presenting the life of a seemingly regular family man. The locus then swiftly shifts to subtly tackle the mental battles of someone torn between societal norms and ethical dilemmas. The premise then deals with the idea of love and the lengths an individual would go to protect it, followed by a contemplation on personal consequence and guilt. The characters are flawlessly brought to life through stellar performances by the cast, most notably, Zhila Shahi, Ehsan Mirhosseini, and Baran Rasoulof whose deliverance brings depth to the narrative.

The film effectively showcases Mohammad Rasoulof's renowned ability to blend subtle human stories with larger sociopolitical themes. He crafts a haunting and thought-provoking film that addresses a pivotal issue within Iranian society and opens up a broader conversation on the morality of the death penalty.

The realization of this film was not without its challenges. Given its themes, creating There is No Evil involved great personal risk for Rasoulof, as the Iranian government has heavily censored his work, and he was barred from leaving Iran after completing this film. Despite the limitations, Rasoulof managed to produce a cinematic work of immense power and subtlety.

Aesthetically, it is a beautifully shot film that strikes a balance between the stark reality of its subject matter and the visual poetry of its storytelling. Each frame holds an underlying commentary on the Iranian landscape, its people, and their everyday lives. The attention to detail in the film's setting, costumes, and props add depth to the stories as well. The quality of the film’s production enhances the narratives, highlighting diverse aspects of Iranian culture and society.

There Is No Evil has gained international recognition and premiered at the Berlin International Film Festival, taking home the Golden Bear, the festival's highest prize. It's a testament to Rasoulof's immense courage and steadfast dedication to his craft, highlighting the possibility of beauty and compassion amidst oppressive systems.

There Is No Evil, overall, is a profound exploration of morality and choice in a stringent, socially controlled environment. It both illuminates and challenges the viewer's understanding of right and wrong, free will and fate. The film is a must-see for those interested in thought-provoking narratives, human rights issues, and the intricacies of Iranian culture and society. Its quiet plea for humanity lingers long after the screen fades to black.