This article explores the use of mise en abyme—the embedding of a story within a story or a film within a film—as a powerful tool employed by Iranian filmmakers to address complex socio-political issues, engage in self-referential artistic expression, and interrogate the nature of storytelling. By analyzing ten prominent post-revolutionary Iranian films, including works by directors such as Kianoush Ayari, Mohsen Makhmalbaf, Bahram Beyzai, Abbas Kiarostami, Alireza Davood Nejad, Ali Karim, and Faezeh Azizkhani, the study investigates how mise en abyme techniques are used to construct narratives that reflect on identity and the interplay between art and reality.

The analysis focuses on identifying and classifying mise en abyme techniques, examining their thematic contributions to the films’ engagement with socio-political critique, and evaluating their aesthetic impact on the overall style and form of the works. By delving into the diverse ways in which Iranian filmmakers deploy mise en abyme, this research highlights its potential for profound socio-political commentary and its role in shaping a unique Iranian cinematic aesthetic, thereby contributing to a deeper understanding of Iranian cinema’s artistic and cultural richness.