This article examines Dariush Mehrjui’’s subversion of the male gaze through female subjectivity in his films of the 1990s, a period of significant societal transformation in post-revolutionary Iran. Following the Iran-Iraq War (1980–1988), Iranian society gradually shifted away from the collective ideological priorities of the 1980s, with individuals asserting personal aspirations and agency. This change was reflected in Iranian cinema, where representations of women evolved beyond the passive and absent roles shaped by censorship and sociopolitical restrictions. Focusing on movies such as The Lady (1991), Sara (1993), Pari (1995), and Leila (1996), this study explores how Mehrjuyi’s films engaged with these shifts, positioning female subjectivity at the center of their narratives. Drawing on Laura Mulvey’s theory of the male gaze alongside broader feminist film theories, the article investigates how Mehrjuyī’ reconfigures visual and narrative structures to challenge traditional gender representations.