The Power of Iranian Cinema: Stories of Resilience, Resistance, and Humanity
I still remember the first time I watched A Separation (2011) about two years ago. I had heard the praise, the accolades, and the Oscar win, but nothing quite prepared me for the quiet intensity that unfolded on my TV screen on a quiet Tuesday evening. The film didn’t rely on grand gestures or dramatic climaxes; instead, it drew me in with its raw emotional honesty and intricate moral dilemmas. As the credits rolled, I sat in silence, overwhelmed by the weight of what I had just experienced. It was more than just a film — it was an unfiltered glimpse into the complexities of Iranian society and, more importantly, into the universal struggles of human relationships. That moment solidified my fascination with Iranian cinema, a film culture that tells deeply personal yet profoundly political stories. Safe to say I’ve been loving Iranian cinema ever since.
Cinema has long been a powerful medium for storytelling, cultural expression, and societal reflection. While Hollywood and European cinema dominate global screens, to me, Iranian cinema stands as a unique and deeply compelling force that deserves far more attention. From its poetic storytelling to its courageous social critique, Iranian cinema is a gateway to understanding a complex nation beyond the geopolitical narratives often presented in the mainstream media.
Source: A Separation (2011) Directed by Asghar Farhadi
A Legacy of Art and Resilience
Iranian cinema is widely regarded for its rich artistic tradition, blending realism with metaphor, philosophy with everyday life. This rich legacy stretches back to the pioneering works of Abbas Kiarostami, Dariush Mehrjui, and Forough Farrokhzad, whose films infused profound existential and poetic qualities into simple narratives. Even within strict censorship laws, Iranian filmmakers have developed a cinematic language that speaks volumes through allegory, subtlety, and visual storytelling.
I find that the visual poetry of Kiarostami, in particular, has left an indelible mark on world cinema. His films, such as Taste of Cherry (1997) and Close-Up (1990), embrace minimalism while delving into deep philosophical questions about life, death, and identity. By employing non-professional actors and documentary-style filmmaking, Kiarostami blurred the lines between fiction and reality, making his stories feel intimate yet universal. Dariush Mehrjui, on the other hand, often credited with pioneering the Iranian New Wave, brought a sharp critique of Iranian society through films like The Cow (1969), which explored themes of isolation, loss, and identity. His influence paved the way for generations of filmmakers who dared to challenge conventions while working within the constraints of censorship.
Iranian cinema’s artistic resilience is perhaps best exemplified by the way it continues to flourish despite political and social pressures. The poetic and humanistic storytelling of filmmakers like Majid Majidi and Mohsen Makhmalbaf highlights the everyday struggles and dreams of Iranians, allowing audiences worldwide to connect on a deeply emotional level. These films are not just cinematic experiences; they are cultural documents that reflect the evolving spirit of Iranian society.
A Voice for the Voiceless
One of the most striking aspects of Iranian cinema is its ability to amplify marginalised voices. Women, children, and working-class individuals frequently take centre stage, portraying authentic struggles and perspectives often absent in commercial cinema. The works of directors such as Jafar Panahi (The Circle, Offside) and Asghar Farhadi (A Separation, The Salesman) highlight societal conflicts, gender inequalities, and moral dilemmas, all while navigating Iran’s complex sociopolitical landscape.
Iranian cinema has given women a powerful platform to express their realities in a society where their voices are often suppressed. Films like The Circle (2000) and Offside (2006) confront the systemic barriers women face, whether it’s legal discrimination or societal expectations. These films are not just about gender inequality in Iran — they resonate globally, offering insight into struggles that many women experience worldwide. Furthermore, children also play a significant role in Iranian storytelling, often used as a lens to critique society. Films like Children of Heaven (1997) and The White Balloon (1995) highlight economic struggles, innocence in the face of hardship, and the resilience of youth. Through the eyes of a child, Iranian filmmakers expose harsh social realities in a way that is both heartbreaking and universally relatable.
Class and economic disparity are also central themes in Iranian cinema. Farhadi’s A Separation (2011) perfectly illustrates how class divisions impact personal relationships and moral choices. These films serve as a reminder that behind political tensions and global conflicts, there are real people facing universal struggles — poverty, injustice, and the fight for dignity. In a country where censorship is a looming force, these filmmakers use their art to challenge authority, give a voice to the oppressed, and offer a more nuanced portrayal of Iran. Their films provide a much-needed counterpoint to dominant narratives, portraying Iran as a land of poets, thinkers, and ordinary people striving for a better life.
Bridging the Gap Between Tradition and Modernity
Iranian films frequently explore the tension between tradition and modernity. Whether it is the generational gap between conservative parents and their more liberal children or the struggle of women seeking agency within patriarchal structures, Iranian cinema acts as a mirror reflecting the evolving societal consciousness. Majid Majidi’s Children of Heaven (1997) illustrates childhood innocence against a backdrop of economic hardship, while Bahram Beyzai’s Bashu, the Little Stranger (1989) examines cultural and ethnic differences within the country. Generational conflicts are a recurring theme, with younger characters often portrayed as questioning or resisting the expectations placed upon them. Films such as Leila (1997) by Dariush Mehrjui and The Hidden Half (2001) by Tahmineh Milani explore how women, in particular, negotiate their identities within both conservative and progressive frameworks.
Filmmakers also examine the role of technology and globalisation in shaping Iranian society. The rise of the internet, urbanisation, and increased exposure to global cultures challenge traditional norms, creating internal conflicts within families and communities. Asghar Farhadi’s films frequently depict characters navigating these tensions, torn between duty to family and the pursuit of personal freedom. Moreover, religious identity and its intersection with modern life are also explored in Iranian cinema. Films like The Lizard (2004) offer a satirical yet thought-provoking look at how religious authority interacts with contemporary society. These films present Iran as a country in transition, one where modern ideals and traditional beliefs coexist, clash, and sometimes find harmony in unexpected ways.
Source: Taste of Cherry (1997)
Breaking Censorship Through Creativity
Filmmaking in Iran comes with numerous restrictions — direct criticism of the government, the portrayal of certain social issues, and even the depiction of physical touch between men and women are tightly controlled. Yet, rather than suppressing creativity, these limitations have led Iranian filmmakers to develop ingenious storytelling techniques. Instead of explicit protest, they rely on metaphor, symbolism, and open-ended narratives that invite audience interpretation.
For example, Mohammad Rasoulof and Jafar Panahi, both of whom have faced imprisonment and bans from filmmaking, continue to create bold works that challenge authority and advocate for artistic freedom. Their resilience underscores how Iranian cinema is not merely an art form but also an act of defiance and resistance.
Why Iranian Cinema Matters Now More Than Ever
In today's rapidly changing world, where misinformation, polarisation, and political conflict dominate global discourse, Iranian cinema stands out as an essential tool for understanding the human stories often lost in political rhetoric. As Iran finds itself at the centre of international geopolitical debates, its cinema offers a powerful counter-narrative, showcasing the richness of Iranian culture and the depth of its people’s struggles and dreams. Iranian filmmakers, despite facing immense adversity, continue to create art that challenges authority, questions societal norms, and gives a voice to the marginalised. Iranian cinema, despite the heavy censorship it faces, has become a beacon of artistic resistance and resilience.
Filmmakers such as Jafar Panahi and Mohammad Rasoulof have faced imprisonment and government bans, yet their works continue to push boundaries. This defiance is at the heart of Iranian cinema—not only as an art form but also as an act of resistance against oppression. Their films, whether overtly political or deeply personal, speak to universal themes that transcend national borders.
What I find one of the most powerful aspects of Iranian cinema is its ability to amplify the voices of those who are often marginalised. In a country where women, children, and the working class have limited representation in public discourse, Iranian filmmakers have used the medium to shine a light on the struggles of these groups. Directors like Asghar Farhadi and Marzieh Meshkini bring forth narratives that give voice to women navigating the limitations of a patriarchal society. For example, Farhadi’s A Separation (2011) explores the complex dynamics of marriage, class, and morality, while Meshkini’s The Day I Became a Woman (2000) speaks to the restrictions placed on women as they navigate the thresholds of age and societal expectations.
Amidst growing tensions between Iran and the West, Iranian cinema provides a much-needed bridge for global understanding. The media often reduces Iran to a political adversary, eclipsing its cultural and societal nuances. By watching Iranian films, international audiences gain a deeper understanding of the country’s complexities and the common struggles of people around the world. Taste of Cherry (1997) and Children of Heaven (1997) tell stories of ordinary people facing adversity — stories that are both distinctly Iranian and universally human. These films remind us that, at the core, Iran is a nation of poets and dreamers, with a deep-rooted culture and history.
In a world where political discourse often reduces complex issues to black-and-white narratives, Iranian cinema offers a rich tapestry of grey areas. Filmmakers tackle intricate social issues, such as gender inequality, class struggles, and human rights, with nuance and subtlety. The films do not offer easy answers; instead, they encourage audiences to reflect on the complexities of the human condition. By focusing on characters’ internal struggles and moral dilemmas, Iranian cinema challenges its viewers to question their assumptions about the world.
Iranian filmmakers have increasingly gained recognition on the global stage. Directors like Asghar Farhadi, who has won Academy Awards, and Abbas Kiarostami, whose work has influenced generations of filmmakers, have helped bring Iranian cinema to international prominence. These films have not only won prestigious awards but have also facilitated a broader cultural exchange. As more audiences gain access to these films through digital platforms, the global appreciation for Iranian cinema continues to grow.
Source: The Circle (2000)
So Why Should You Watch Iranian Cinema?
Western media often presents a singular, politically charged view of Iran, overshadowing the country’s cultural richness and everyday human stories. Iranian cinema provides a counter-narrative, allowing international audiences to see a nation of poets, dreamers, and ordinary people navigating universal struggles. Films like Taste of Cherry (1997) and The Colour of Paradise (1999) remind us that Iran is more than just headlines — it is a place of profound beauty, complexity, and humanity.
In an era where media homogenisation threatens diverse storytelling, Iranian cinema stands as a testament to the power of film as an art form and a social instrument. It challenges perceptions, fosters empathy, and offers an unfiltered glimpse into a world often misrepresented. To watch Iranian cinema is to engage with one of the most significant cultural movements of our time—one that speaks in whispers but echoes loudly across borders.
For those seeking cinema that moves beyond entertainment into the realm of art and social commentary, Iranian films are an essential and enriching experience. They remind us that, despite political and cultural divides, human emotions, struggles, and aspirations remain universal.
Now is the time to discover Iranian cinema — not only as an artistic treasure but as a voice of resilience, resistance, and revelation.
S xoxo
Written at Shebara Resort, Saudi Arabia
11th January 2025