Sheytan vojud nadarad
Heshmat, an exemplary husband and father, gets up very early every day. Where does he go? Pouya cannot imagine killing another man, yet he is told he must do so. Javad doesn’t know that proposing to his beloved won’t be the only surprise on her birthday. Bahram is a physician but is unable to practice medicine. He has decided to explain to his visiting niece the reason for his life as an outcast. The four stories that comprise Sheytan vojud nadarad (There Is No Evil) offer variations on the crucial themes of moral strength and the death penalty, asking to what extent individual freedom can be expressed under a despotic regime and its seemingly inescapable threats. Mohammad Rasoulof only creates a loose narrative link between these stories, and yet they are all tragically and inexorably connected. In the context of structural oppression, choice seems to be limited to either resisting or surviving. But with each abruptly interrupted story, we are urged to consider how men and women can assert their freedom even in such situations. (Festival information, Berlinale 2020; photo: © Cosmopol Film)
The movie reflects upon the importance of moral conscience in four episodes, telling the stories of four men who are confronted with carrying out death penalties and the people surrounding them. Especially the stories of young men faced with this task during their military service, one escaping, another facing the task, and the complications and deep moral conflicts these killings bring about for them confront the audience with the disturbing reality in the Iranian political and judicial system. The actions of these men have a deep impact on the relationships to their loved ones and families, especially the strong female characters. The atmosphere of political persecution is unsettling. In a very impressive way the film depicts the options that exist, and gives a sense of the possibility of decision and resistance even under political pressure. Thus it shows an impressive fundamental critique of death penalty in general and especially of the oppressive system in Iran by means of outstanding storytelling and cinematography and the intense acting. In this the film is a strong statement of human dignity which constitutes us as a person in Iran and everywhere (phto: © Cosmopol Film).