This article focuses on changes in the cinematic representation of home, how women are represented at home, and how they are represented in relation to home before, during, and after the 1979 Iranian Revolution. The study is based on an ethnographic content analysis of thirty post-revolutionary and thirty pre-revolutionary films from 1969 to 1999. These films include best-sellers, films made by New Wave filmmakers, films by new revolutionary filmmakers, and films known as Filmfarsi. This article illustrates how the cinematic representation of women at home and in relation to home changed by discussing three major themes: the role of class in the representation of women at home, the presence of women in the background and foreground, and women, home, and homeland as objects to be protected. Cinema, as an institution that has a reciprocal relationship with society and state, can demonstrate how changes in society or state are manifested. Also, cinema itself changes as a result of shifts in society and state. A model is introduced to describe this dialectical relationship between the state, cinema, and society based on Griswold’s cultural diamond. The inseparability of social and spatial processes is key in discussing the relationship between home and revolution. As this article demonstrates, home is constantly being made and remade, which affects and is affected by social processes.