This article examines Abbas Kiarostami’s distinctive approach to realist cinema, characterized by an innovative integration of documentary aesthetics with classical dramatic narrative techniques. This synthesis produces a unique form of “filmic hyperrealism,” where reality is not directly captured by the camera but is meticulously constructed through deliberate dramaturgical design. From his early works, such as Bread and Alley, to his later digital productions, Kiarostami’s films challenge traditional notions of realism by presenting controlled and artfully contrived representations of events as though they were spontaneous occurrences.

Drawing on Jean Baudrillard’s theories of reality and simulacrum, this research analyzes Kiarostami’s use of digital filmmaking tools in Ten, Ten on Ten, Five, Roads, and other projects, highlighting how these tools enabled him to advance his realist aesthetic. By introducing the concepts of “complex apparatus” and “primitive apparatus” as dominant paradigms in digital cinema, the article situates Kiarostami’s digital works as pioneering examples of the “primitive apparatus” in 21st-century filmmaking, offering critical insights into the evolving aesthetics of Iranian and global digital cinema.