在極權統治下，藝術工作者能找到自由創作的空間嗎？導演2009年的作品充滿寓意，故事主角走遍壯麗的爾米亞湖岸，在鹽盤上收集居民的眼淚。與他同行的少年，則希望可以和失散已久的父親重聚。在這奇異的旅程上，主角見證強權如何掩蓋道理，盲目服從帶來悲劇。儘管導演只是以隱晦的手法，暗喻伊朗的社會問題。但他和為本片剪接的導演約化巴納希，都因此而被判監，諷刺地呼應電影中的控訴。

Cementing his status as an activist-auteur, Mohammad Rasoulof invented his own mythology to explore the social and political problems native to his homeland of Iran. Set against the austere scenery of salt-filled Lake Urmia, The White Meadows offers a series of vignettes tied together by the mysterious Rahmat (Hasan Pourshirazi), who travels by boat to various communities to hear people’s sorrows and collect their tears. As preoccupied with protest as Rasoulof’s other films, this stunning work eschews literalism yet remains razor-sharp in its critiques of society’s cruelty and slavish devotion to theology. An elegant, absurd and extraordinary fable that speaks to the politically initiated and uninitiated alike.