Introduction The narrative surrounding the emergence of the first Muslim Iranian actress unfolds as an intriguing yet somber tale. Rūhangīz Sāmīnizhād (1916-1997) holds the distinction of being the inaugural Iranian actress, having starred in the…

Introduction This article focuses on the life and professional career of Farrukh Ghaffārī (1922-2006), an outstanding cinematic and cultural figure in Iran. By covering various aspects of Ghaffārī’s life, including his early years and diverse…

Introduction This article examines the early cinematographic works of ‛Abbās Kīyārustamī (1940-2016), spotlighting the intricate nexus between childhood, education, and spatial dynamics in the context of 1970s pre-revolutionary Iran. Through a detailed analysis of three…

In Iranian films and TV series such as Bihrūz Afkhamī’s Shawkarān (Hemlock, 2000), Muhammad Husayn Farahbakhsh’s Zindagī-yi Khusūsī (Private Life, 2011), and Āydā Panāhandah’s Dar Intihā-yi Shab (In the End of the Night, 2023), the…

Figure 1: A portrait of Uvānis Uhānīyān. Uvānis Uhāniyān (Ovanes Ohanian), also known as Uvānis Ugāniyāns (1896-1960), the director of the first feature film in Iranian cinema, led a mysterious life. Historians have often been…

Introduction The capacity of Iranian cinema to combine aesthetic minimalism with deep socio-political and philosophical depth has earned it a unique and esteemed position on the international scene. Iranian filmmakers have created a distinctive narrative…

Figure 1: A screenshot from the film Judā’ī-i Nādir az Sīmīn (A Separation, 2011), directed by Asghar Farhādī. The turbulent events that unfolded during the Green Movement in Iran—ignited by the disputed results of the…

Introduction Despite having ended nearly 40 years ago, the Iran-Iraq War (1980-1988) still resonates today, at the same time that some of the basic facts of the conflict are still debated. In no way forgotten,…

Introduction Poetic cinema and film poetry are significant in global cinema history, especially in Europe. These ideas express different aspects of processing poetic material and developing narrative themes. They also propose new methods for expressing…

Drawn out by Rakhshan Banietemad in 1985, the role of Tuba, the filmmaker’s most iconic character, was initially reserved for Golab Adineh to perform in Under the Skin of the City (2001). As a result…

Figure 1: Poster for the film Certified Copy, Directed by ‛Abbās Kiyārustamī, 2010. An English art critic, James Miller, comes to Tuscany to promote the Italian translation of his latest book, Certified Copy. He delivers…

Leading Iranian filmmakers in both pre- and post-revolutionary stages have been practitioners of reality depiction, the depiction of social realities under silencing restrictions and censorships, through varying degrees of cinematic realism. The majority of Iranian…

Figure 1: A screenshot from the film Bugzār Zindagī Kunam (Let Me Live), directed by Shāpūr Qarīb, 1986. Toward Shaping the Image of Woman Amid the Turmoil of the Revolution In the thick of the…

Imagine living in the 18th or 19th century, before the advent of cinema and the introduction of movies into our lives. What was it like to be a reader, or a writer? How were stories…

Figure 1: A still from the film Deep Breath (Nafas-i ‛Amīq, 2003) Parvīz Shahbāzī, Accessed via https://www.imvbox.com/en/movies/deep-breath-nafase-amigh (00:03:34) Introduction To demonstrate the inadequacy of the popular category “postrevolutionary Iranian cinema,” Blake Atwood introduced the term…

Considering ‘ideology’ as a belief system that shapes society and the socio-political order, it can be stated that contemporary Iran has witnessed the rise of ideologies such as nationalism, Marxism, and Islamism. These ideologies have…

According to John Reich, “Characters are the essence of a movie.” They are the primary meaning-bearers and bring the story…

Figure 1: Poster from the films Kāghaz-i bī’khat (Unruled Paper, 2002) and Dar dunyā-yi tu sā‛at chand ast (What Time Is It in Your World?, 2014), directed by Nāsir Taqvā’ī. Introduction This paper examines the…

Introduction This article focuses on the changes in the cinematic representation of home and how women are represented at home and in relation to home before, during, and after the 1979 Iranian Revolution. Research findings…

Figure1: The Film Poster Close-Up (1990), ‛Abbās Kīyārustamī. “The struggle against the established order is always individual, a struggle which each must engage in on his account by making use of whatever resources he has…

Introduction Many critics believe that there is a poetic dimension to Makhmalbāf’s cinema, especially in the third period of his works, known with films such as Time of Love, The Nights of Zāyandah-Rūd, and Nūn-u-Guldūn…

Iranian women’s cinema is a theater of activism, audacity, and determination and women have played numerous important roles in cinematic production since its coming to Iran at the beginning of the twentieth century. However, after…

Figure 1: Poster of the film The Salesman, Asghar Farhādī, 2016 The Salesman (2016) is the seventh feature film of Asghar Farhādī, winning many international awards, including the award for Best Foreign Film at the…

Musāfirān (Travelers, 1991) “Travelers is a film about fertility, which may be what all my films are about: creation, fertility, and rebirth.”1Nooshabeh Amiri, Jedāl Bā Jahl [Fight Against Ignorance: A Conversation with Bahrām Bayzāʼī] (Tehran:…

Introduction This article offers an analysis of Suhrāb Shahīd Sālis’s debut film, A Simple Event (Yik Ittifāq-i Sādah, 1973)2A Simple Event (Yik…