This article delves into the thematic parallels between Maryam Moqaddam and Behtāsh Sanāʾīhā’s My Favourite Cake and ʿUmar Khayyām’s Rubāʿiyyāt. Both works poignantly explore the transience of life, the inevitability of death, and the profound human experience of loneliness. In the film, the narrative centers on Mahīn, a 70-year-old widow, as she confronts layers of internal and external censorship while navigating societal expectations in her search for connection and meaning. Similarly, Khayyām’s Rubāʿiyyāt invites readers to engage with the truths of existence, urging them to embrace life’s fleeting pleasures and impermanence. Through a comparative analysis, this article investigates how these two masterpieces grapple with existential themes, shedding light on their enduring relevance in contemporary discussions of art, tradition, and the complexities of self-expression.