When asked at the 2016 Berlin Film Festival about the future of Iranian cinema, acclaimed director Mani Haghighi responded: “There are two dominant trends in Iranian cinema: the Kiarostami school and the Farhadi school. Both schools produce wonderful films. However, I believe there is enough room for other kinds of filmmaking beyond this strictly realist framework, and that is what I endeavor to explore in my own work.”^[1]

Haghighi’s remark points to a long-standing reality in post-revolutionary Iranian cinema: for decades, two dominant styles–poetic realism and social realism–have shaped its global image. Poetic realism, rooted in the minimalist and meditative approach of Abbas Kiarostami, emphasizes visual lyricism and quiet introspection.^[2] Social realism, most notably associated with Asghar Farhadi, delves into moral dilemmas and the intricate social fabric of contemporary Iranian society.^[3] These two approaches have come to define Iranian cinema on the international stage, shaping both its critical reception and its artistic identity. Since 2010 however, a new generation of filmmakers has begun to chart alternative paths. Moving beyond the established traditions of realism, they have embraced formalist experimentation, genre hybridization (horror, thriller, mystery, and sci-fi), underground and overtly political films, absurdist and comedic cinema, diasporic films, and state-funded big-budget productions.

At the turn of the century, Iranian cinema underwent a transformation driven by two major forces: the advent of digital video technology and the emergence of a dynamic cinephile culture. By the mid-2000s, digital cameras had become a game-changer, offering an affordable alternative to traditional film while fostering creative experimentation. For a new generation of filmmakers, these tools not only provided financial flexibility but also enabled them to bypass state-controlled production and distribution channels. In other words, digital technology democratized filmmaking, allowing a broader range of aspiring directors to explore their cinematic ambitions.^[4] The shift gained further momentum when established filmmakers like Kiarostami embraced digital filmmaking, legitimizing the medium and inspiring a new generation to experiment with its possibilities.

The second major shift was the resurgence of cinephilia. After two decades of restrictions and reliance on the black market due to the regime’s hostility toward the West, Iranian audiences finally gained access to high-quality American and European films on CDs and DVDs.^[5] This newfound exposure sparked a growing appetite for cinema, further fueled by the rising popularity of film magazines. Eager to engage with cinema beyond mere viewing, many young Iranians turned to blogging, where they experimented with film criticism –albeit in raw, unpolished forms– laying the groundwork for a new wave of film discourse in Iran.^[6] Some of these emerging critics, such as Shahram Mokri, later became prominent filmmakers of their generation.

The 2009 Green Movement protests had a profound impact on Iranian society and politics, fundamentally altering the trajectory of its cinema. Millions of Iranians took to the streets, contesting what they saw as a fraudulent re-election of Mahmoud Ahmadinejad as president and demanding a recount. The government's harsh crackdown intensified surveillance of filmmakers and tightened control over cinematic productions, especially as many prominent directors had supported the opposition. In 2010, Jafar Panahi and Mohammad Rasoulof, both outspoken advocates of the movement, were arrested—a turning point in the state's repression of political dissent within the film industry. 

There can be little doubt that the Green Movement and its political aftermath greatly altered the landscape for producing social realist cinema in Iran. Heightened censorship and state control made certain types of outspoken social realist films increasingly risky for directors to make. A sense of hopelessness, malaise, and despondence permeated the atmosphere in the wake of this costly opposition effort and its failure.    

At the same time, it was a confluence of factors, not political developments alone, that led to this blossoming of new movements and genres. The combination of these political developments with the rise of a new young generation of filmmakers, the changing of the guard as the older masters began to retire or fade from the scene, and a new-found energy and interest in exploration, was critical in bringing about these changes. At the same time, Asghar Farhadi’s historic Oscar win for A Separation (2011) in the Best Foreign Language Film category was the first-ever win for Iran. This high-profile recognition may have suggested to some artists that social realism had already been done, and they should seek out uncharted territory in order to produce original works. Armed with their new digital cameras and a knowledge of foreign cinema and film criticism, these directors pushed Iranian cinema to try out new creative modes between 2010 and 2025. Despite the breadth and range of these innovations, this piece will focus on three distinct trends: formalism, absurd comedy, and overtly political filmmaking.  

To be Continued: 1) Formalism; 2) Absurd Comedy; 3) Political Films