This year’s 70th Berlin International Film Festival was yet another moment for spotlights to be turned on Iran, where outspoken directors continue to battle censorship and near-crippling bans under restrictive ideological regulations imposed by the Islamic Republic.

Mohammad Rasoulof grabbed the Golden Bear in the main competition section of the 70th Berlin International Film Festival Feb. 28 for his drama “There Is No Evil." Due to a travel ban placed on him at home, Rasoulof was unable to show up at the event, where his daughter, Baran — starring in the same movie — held on to the prestigious trophy before delivering her brief and emotional speech in praise of her father.

In the course of four apparently disconnected episodes, each with a distinct title, the film portrays four plausible characters, who at some point have to face a critical moment of decision-making and take their stance toward Iran’s death penalty laws, a personal choice between submission and disobedience, one that draws a line between those who choose to side with a repressive system and those who pay the price by refusing to do so. In his attempt to lay bare the irrationality of the controversial laws on capital punishment, Rasoulof’s latest movie is by far the most outspoken film, in which he does not shy away from explicitly questioning the powerful ruling establishment.

Rasoulof’s 150-minute drama that premiered in Berlin comes within a continuum of his past portfolio, marked by his defiance against state restrictions, an open example being his 2013 “Manuscripts Don’t Burn” that dares to touch upon the most sensitive security issues in Iran.