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Trump threat to immigrant health care tempered by economic hopesAs part of a national “moonshot” to cure blindness, researchers at the CU Anschutz Medical Campus will receive as much as $46 million in federal funding over the next five years to pursue a first-of-its-kind full eye transplantation. “This is no easy undertaking, but I believe we can achieve this together,” said Dr. Kia Washington, the lead researcher for the University of Colorado-led team, during a press conference Monday. “And in fact I’ve never been more hopeful that a cure for blindness is within reach.” The CU team was one of four in the United States that received funding awards from the federal Advanced Research Projects Agency for Health , or ARPA-H. The CU-based group will focus on achieving the first-ever vision-restoring eye transplant by using “novel stem cell and bioelectronic technologies,” according to a news release announcing the funding. The work will be interdisciplinary, Washington and others said, and will link together researchers at institutions across the country. The four teams that received the funding will work alongside each other on distinct approaches, though officials said the teams would likely collaborate and eventually may merge depending on which research avenues show the most promise toward achieving the ultimate goal of transplanting an eye and curing blindness. Dr. Calvin Roberts, who will oversee the broader project for ARPA-H, said the agency wanted to take multiple “shots on goal” to ensure progress. “In the broader picture, achieving this would be probably the most monumental task in medicine within the last several decades,” said Dr. Daniel Pelaez of the University of Miami’s Bascom Palmer Eye Institute, which also received ARPA-H funding. Pelaez is the lead investigator for that team, which has pursued new procedures to successfully remove and preserve eyes from donors, amid other research. He told The Denver Post that only four organ systems have not been successfully transplanted: the inner ear, the brain, the spinal cord and the eye. All four are part of the central nervous system, which does not repair itself when damaged. If researchers can successfully transplant the human eye and restore vision to the patient, it might help unlock deeper discoveries about repairing damage to the brain and spine, Pelaez said, as well as addressing hearing loss. To succeed, researchers must successfully remove and preserve eyes from donors and then successfully connect and repair the optical nerve, which takes information from the eye and tells the brain what the eye sees. A team at New York University performed a full eye transplant on a human patient in November 2023, though the procedure — while a “remarkable achievement,” Pelaez said — did not restore the patient’s vision. It was also part of a partial face transplant; other approaches pursued via the ARPA-H funding will involve eye-specific transplants. Washington, the lead CU researcher, said she and her colleagues have already completed the eye transplant procedure — albeit without vision restoration — in rats. The CU team will next work on large animals to advance “optic nerve regenerative strategies,” the school said, as well as to study immunosuppression, which is critical to ensuring that patients’ immune systems don’t reject a donated organ. The goal is to eventually advance to human trials. Pelaez and his colleagues have completed their eye-removal procedure in cadavers, he said, and they’ve also studied regeneration in several animals that are capable of regenerating parts of their eyes, like salamanders or zebra fish. His team’s funding will focus in part on a life-support machine for the eye to keep it healthy and viable during the removal process. InGel Therapeutics, a Massachusetts-based Harvard spinoff and the lead of a third team, will pursue research on 3-D printed technology and “micro-tunneled scaffolds” that carry certain types of stem cells as part of a focus on optical nerve regeneration and repair, ARPA-H said. ARPH-A, created two years ago, will oversee the teams’ work. Researchers at 52 institutions nationwide will also contribute to the teams. The CU-led group will include researchers from the University of Southern California, the University of Wisconsin, Indiana University and Johns Hopkins University, as well as from the National Eye Institute . The teams will simultaneously compete and collaborate: Pelaez said his team has communicated with researchers at CU and at Stanford, another award recipient, about their eye-removal research. The total funding available for the teams is $125 million, ARPA-H officials said Monday, and it will be distributed in phases, in part dependent on teams’ success. U.S. Rep. Diana DeGette, a Democrat who represents Denver in Congress, acknowledged the recent election results at the press conference Monday and pledged to continue fighting to preserve ARPA-H’s funding under President-elect Donald Trump’s administration. The effort to cure blindness, Washington joked, was “biblical” in its enormity — a reference to the Bible story in which Jesus cures a blind man. She and others also likened it to a moonshot, meaning the effort to successfully put Neil Armstrong and Buzz Aldrin on the moon nearly 50 years ago. If curing blindness is similar to landing on the moon, then the space shuttle has already left the launchpad, Washington said. “We have launched,” she said, “and we are on our trajectory.”
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Researchers launch “moonshot” to cure blindness through eye transplants
NEW YORK (AP) — Shortly before he was to be flogged and imprisoned for eight years, Mohammad Rasoulof fled Iran. His weekslong journey would take him from Tehran, through rural Iranian villages, on foot across a mountainous borderland and ultimately to Hamburg, Germany. As arduous and dangerous as the trip was, Rasoulof’s travels had an added wrinkle: He was trying to finish a movie at the same time. A week after arriving in Germany, Rasoulof would premiere his film, “The Seed of the Sacred Fig” at the Cannes Film Festival in France. As he fled, Rasoulof was preoccupied with the movie’s edit, which was being carried out in Germany. “I remember when I was sitting in the car that was driving me to the border,” Rasoulof says. “I had my laptop and I was taking notes and sending them to my editor. The two friends who were taking me kept saying, ‘Put that thing away for a second.’” In Cannes, “The Seed of the Sacred Fig” won a special jury prize and Rasoulof was celebrated with a 13-minute standing ovation. The movie has since been hailed as one of the best of the year, and arguably its most daring. RELATED COVERAGE The best movies of 2024 as ranked by AP film writers Rasoulof made “Sacred Fig” clandestinely in Iran, directing scenes from a separate location to avoid raising suspicions. (The opening titles read: “When there is no way, a way must be made.”) Its story — a devastating family drama set during the 2022 protests that engulfed Iran — would surely only add to Rasoulof’s prison sentence. So after all of this, how is he feeling? When he recently met with The Associated Press for an interview, Rasoulof shrugged. “Ordinary,” he says. Rasoulof, 52, has a more gentle, bemused presence than some of his films would suggest. But how could Rasoulof, after what he’s lived through this year, feel anything like ordinary? “I still haven’t grasped the meaning of exile,” he explains. “I think it will take some time. The feeling of that void has not hit me yet, and I think it may never come.” Rasoulof has been busy traveling from film festival to film festival. In September, he and his 24-year-old daughter attended the Telluride festival in Colorado. Many more such stops were to come. Since fleeing Iran, Rasoulof has effectively been immersed in the world he’s long known: cinema. “Maybe I am living in the world of cinema, and maybe that’s why things are so familiar,” he agrees. “Maybe that’s why I don’t feel I’m in exile.” Rasoulof accepts the special prize award at the Cannes Film Festival. (Photo by Andreea Alexandru/Invision/AP, File) Rasoulof accepts the special prize award at the Cannes Film Festival. (Photo by Andreea Alexandru/Invision/AP, File) Share Share Copy Link copied Email Facebook X Reddit LinkedIn Pinterest Flipboard Print Read More “The Seed of the Sacred Fig,” currently playing in theaters, is the Oscar submission from Rasoulof’s adoptive home, Germany. He’s settled in with his family, grateful for how the country has welcomed him. Speaking through an interpreter, Rasoulof grants that he’ll probably always mentally have a bag packed, ready to return to Iran should the chance ever come. But what “home” constitutes has changed for him. “I might be able to change this concept of home for myself,” he says. “I walk on the streets here and I see people of different colors and forms from all over the place, and they all call this place home. So there’s always the chance that one can build something new.” How oppressive politics can infiltrate the home is central to “The Seed of the Sacred Fig.” It concerns a family of four: Iman (Missagh Zareh), a lawyer newly appointed to the Revolutionary Court in Tehran; his wife, Najmeh (Soheila Golestani) and their two daughters, Rezvan (Mahsa Rostami) and Sana (Setareh Maleki). Soheila Golestani, from left, Mahsa Rostami, and Setareh Maleki in a scene from “The Seed of the Sacred Fig.” (Neon via AP) Soheila Golestani, from left, Mahsa Rostami, and Setareh Maleki in a scene from “The Seed of the Sacred Fig.” (Neon via AP) Share Share Copy Link copied Email Facebook X Reddit LinkedIn Pinterest Flipboard Print Read More Iman is proud of his high position, but, when the government crackdown on protesters following the death of Mahsa Amini accelerates, his daughters are increasingly at odds with him. After Iman’s gun goes missing, his wife and daughters turn into suspects. “The Seed of the Sacred Fig,” populated with real cellphone videos from the protests, plays out as an excruciating microcosm of Iranian society. “It wasn’t like I put those videos in. They just came in,” says Rasoulof. “The reality is that it was through those videos I realized what happened. When the Woman, Life, Freedom movement occurred, I was in prison.” Rasoulof has spent several spells in Tehran’s Evin Prison. In 2010, he was arrested on set for filming without a permit. In 2022, he was jailed for seven months after pursuing the release of another of Iran’s most prominent filmmakers, Jafar Panahi. Panahi, who secretly made the film “No Bears,” was only released in 2023 after commencing a hunger strike. “My windows at home opened to the hills that have the Evin prison in them,” says Rasoulof. “I knew behind those walls many of my friends were sitting.” Rasoulof, inspired by the courage of the younger generation, resolved to pour the same spirit into “The Seed of the Sacred Fig.” Although it wasn’t until Rasoulof’s appeal of his sentence failed that he resolved to flee, he grants that deciding to make “Sacred Fig” essentially sealed his fate. “Making this film was part of that decision,” he says. “Although I had made up my mind earlier, because it was such a bitter decision, I was denying it and delaying it, waiting for a miracle to allow me to stay.” “I would open the fridge to make sure there was nothing there that would go bad,” he adds. “It was a strange circumstance.” For the film’s actors and crew members, signing up for the movie meant also becoming co-conspirators. Everyone knew the risks. And, like Rasoulof, many of them have since left Iran. Rostami and Maleki also now live in Germany. Asked if his collaborators are all currently safe, Rasoulof responds: “No one is safe from the Islamic Republic.” In his new life, Rasoulof is experiencing freedoms he never had in Iran. His films, for example, are widely available outside his native country but not in Iran. His prize-winning 2020 drama “There Is No Evil,” about capital punishment in Iran, is banned — though, ironically, Rasoulof’s prison guards enjoyed watching it with him from a flash drive. Missagh Zareh, left, and Soheila Golestani in a scene from “The Seed of the Sacred Fig.” (Neon via AP) Missagh Zareh, left, and Soheila Golestani in a scene from “The Seed of the Sacred Fig.” (Neon via AP) Share Share Copy Link copied Email Facebook X Reddit LinkedIn Pinterest Flipboard Print Read More “I haven’t seen many of my films on a big screen, especially my last film,” he says. “I really want to see ‘There Is No Evil’ on a big screen. A festival in Portugal has promised to take me to see my own film.” The name of Rasoulof’s film comes from his memory of an ancient fig tree he once visited on an island in the south of Iran. It’s a tree that, with apparent metaphorical meaning for the Iranian government, spreads its seeds onto other trees, killing them and growing in their place. Rasoulof pulls out his phone to share a photo of his apartment in Tehran. Outside a large window, you can see the walls of Evin running along a craggy hillside. Inside are many houseplants. “This is my home,” he says. “I have a lot of plants. I really miss my plants. I have a neighbor who takes care of them for me. I actually have a fig tree at home.”Exiled Iranian filmmaker Mohammad Rasoulof's definition of home is shiftingNone