The teacher in Iranian cinema has never been just a teacher. One might even argue that what has drawn Iranian cinema to this figure is not the profession itself, but
The occasion for this essay is Parallel Tales, the latest film by Asghar Farhadi, which premiered in competition at the 2026 Cannes Film Festival and is his tenth feature film.
Seifollah Samadian now has another distinction to his name: an award from the Cinema Museum, honoring his decades-long presence in the world of images. But if we are to talk
Revenge is one of those subjects that Iranian cinema has repeatedly returned to, each time managing to draw from it a dramatic and emotionally charged situation. This is because Revenge
Cinema is more than a theater, just as a film is more than a collection of moving images projected onto a screen. Before it is a building or an industry,
It may still be too early to speak with certainty about the actual revenue generated by releasing a film on YouTube—particularly a film such as Bi Dad (No More), which
The cinema of Ali Hatami cannot be understood merely as a cinema of storytelling, poetic dialogue, or historical reconstruction. In his cinematic world, the image is as important as the
In cinema, a reporter is more than just a profession; it is a dramatic position. Someone whose job is to observe, ask questions, investigate, and tell stories inevitably becomes entangled
Contrary to popular perception, comedy in Iranian cinema has never been merely a tool for making people laugh. Every historical period has produced its own comedians—actors who have sometimes served
The release of The Pool, Soroush Sehat's third feature film, is more than simply the arrival of another title in Iranian cinemas. It provides an opportunity to reflect on the