Mas‛ūd Kīmīyāyī (29 July, 1941) is a director, screenwriter, and producer in Iranian cinema. He embarked on his film journey as an assistant director to Samuel Khachikian in “” Khudāhāfiz Tihrān (Farewell to Tehran, 1966). His film debut came with Bīgānah bīyā (Come Stranger, 1968), followed by his pivotal film Qaysar (1969), in which he skillfully combined art cinema with commercial elements. Blending social realism with nostalgic elements, his films like Rizā Muturī (Reza, the Motorcyclist, 1970), Balūch (1972), Khāk (The Soil, 1973), Gavazn’hā (The Deers, 1974), Ghazal (1976), and Dāsh Ākul (1971) represent his distinctive narrative style. Despite a prolific output after the revolution, Kimiai’s later works did not receive the same acclaim as his earlier works, notably Qaysar and Gavazn’hā. Nevertheless, his film Dandān-i mār (Sanke’s Fang, 1990) earned him a Golden Bear nomination at the Berlin International Film Festival, where he secured the Special Jury Prize.

Kimiai’s films underscore human values and socially conscious narratives, spotlighting themes of chivalry, honor, and friendship. His protagonists champion these ideals amidst societal and political challenges, emphasizing personal idealism, although these themes have dwindled in his recent works. His approach, challenging the status quo, drew critical comparisons between his films and Fīlmfārsī, shaping Iran’s cinematic landscape during the 1960s. His pioneering works, Qaysar and Gavazn’hā, left a significant impact on Iranian cinema and firmly established his status as a key figure in the Iranian New Wave.