Iranian New Wave

Poetry in Motion

The Iranian New Wave refers to a movement of critically acclaimed and internationally celebrated films that brought Iranian cinema to the forefront of world art cinema, particularly from the late 1980s onwards. These films are renowned for their humanism, their philosophical depth, and their unique cinematic language, which often blends documentary-style realism with poetic and allegorical storytelling. Facing strict state censorship, particularly after the 1979 Islamic Revolution, Iranian filmmakers developed a sophisticated and subtle style of filmmaking, using metaphor and ambiguity to explore complex social and existential themes.

The First and Second Waves

The movement is generally understood to have occurred in two distinct phases:

1. The First Wave (1960s-1970s): This initial wave emerged before the revolution and included directors like Dariush Mehrjui (The Cow, 1969) and Sohrab Shahid Saless. These filmmakers were influenced by Italian Neorealism and began to create a more realist and socially critical cinema.
2. The Second Wave (Post-1979 Revolution): This is the phase that gained massive international recognition. Working under the constraints of the new Islamic Republic, directors like Abbas Kiarostami, Mohsen Makhmalbaf, and Jafar Panahi pioneered a new cinematic language. Their films often bypassed censorship by focusing on the seemingly simple lives of children or by blurring the lines between fiction and reality, creating works that were at once specific to Iranian culture and universally resonant.

Hallmarks of the Movement

Films of the post-revolutionary Iranian New Wave are characterized by several key traits:

• Poetic Realism: A style that captures the texture of everyday life but imbues it with a lyrical, often spiritual, quality.
• Child Protagonists: Many films center on children. This was partly a practical strategy to avoid censorship on adult themes, but it also allowed filmmakers to explore profound ideas from a perspective of innocence and sincerity (e.g., Where Is the Friend’s Home?, The White Balloon).
• Blurring Fiction and Documentary: A signature technique, particularly in the work of Abbas Kiarostami, is the blending of staged scenes with real-life events, often involving non-professional actors playing versions of themselves. This meta-cinematic approach questions the very nature of truth and representation in film (e.g., Close-Up, Taste of Cherry).
• On-Location Shooting: A preference for shooting in real locations, from the bustling streets of Tehran to the remote rural landscapes of the country.
• Allegorical Storytelling: Simple stories often function as complex allegories for broader social, political, or philosophical issues.

Major Filmmakers and International Acclaim

The leading figures of the movement became icons of world cinema. Abbas Kiarostami was its most revered figure, winning the Palme d’Or at Cannes for Taste of Cherry (1997). Mohsen Makhmalbaf and his daughter Samira Makhmalbaf created a family film dynasty. Jafar Panahi has become a symbol of artistic resistance, continuing to make acclaimed films despite being officially banned from filmmaking by the Iranian government.