TEHRAN – On September 12, Iran celebrates National Cinema Day. Since the 1979 Islamic Revolution, Iranian cinema has evolved from being a domestic cultural phenomenon to one of the world's most respected and awarded national cinemas.

Iranian cinema has not only taken the top prize at Cannes, Berlin, Venice, and Locarno for the last 47 years but has penetrated international markets via the Academy Awards, too.

After the Islamic Revolution, Iranian cinema had a period of fervent ideological and institutional remodeling, and there arose a new film language-one that prioritized simplicity, allegory, and richly human narrative.

The international breakthrough came with Amir Naderi’s “The Runner” (1984), a semi-autobiographical tale of an orphaned boy’s struggles on the southern coast of Iran. Premiering at the Nantes Festival of Three Continents in France, the film stunned audiences with its stark realism and child-centered narrative. Soon after, it traveled to London, Sydney, and beyond, establishing Iran as a rising force in world cinema.

Around the same time, Masoud Jafari Jozani’s “Cold Roads” gained attention at the Berlin International Film Festival, further proving that Iranian filmmakers could resonate with international juries and audiences alike.

The late 1980s and 1990s marked a golden age of Iranian cinema, with Abbas Kiarostami at its forefront. In 1989, “Where Is the Friend's House?” was awarded the Bronze Leopard at the Locarno Film Festival. Its understated story of a boy seeking his classmate's house became the icon of Iran's new film identity: austere, poetic, but universally attractive.

Kiarostami continued where he had left off with “Through the Olive Trees” (1994), which was shortlisted for the Palme d'Or at Cannes. Three years later, he bettered it: “Taste of Cherry” (1997) won the Palme d'Or, the highest award at Cannes. France later awarded him the Legion of Honor, putting him among the world's great auteurs.

Kiarostami’s success was not an isolated case. Other Iranian filmmakers flourished in the 1990s. Tahmineh Milani’s “Legend of a Sigh” (1991), Ebrahim Forouzesh’s “The Jar” (1992), and Jafar Panahi’s “The White Balloon” (1995) all won awards at Locarno, Cannes, and other prestigious festivals. Panahi’s “The Mirror” won the Golden Leopard at Locarno, while Abolfazl Jalili’s “Dance of Dust” claimed the Silver Leopard. These victories established Iranian cinema as a fixture at major festivals.

While Kiarostami brought Iranian cinema to the attention of film lovers, Majid Majidi brought it to the attention of the world's film viewers.

His film “Children of Heaven” (1997), the story of two children who share one set of shoes, was the first Iranian film ever to be nominated for an Academy Award in the Best Foreign Language Film category. Iranian cinema became famous in Hollywood after the nomination and demonstrated its capacity to touch universal audiences with stories of poverty, dignity, and love.

Majidi continued to direct films like “The Color of Paradise” (1999) and “Baran” (2001), which topped prizes on film festival circuits from Montreal to Moscow. Iranian films were no longer surprises on global festival circuits by the early 2000s—only expected highlights.

The late 2000s and the early 2010s witnessed a new peak with the rise of Asghar Farhadi. His “About Elly” (2009) won the Silver Bear for Best Director at the Berlin International Film Festival, signaling the arrival of a new voice. Two years later, “A Separation” (2011) became a watershed moment. The film won the Golden Bear in Berlin, swept the festival circuit, and ultimately claimed the Academy Award for Best Foreign Language Film—the first Oscar in Iran’s history.

“The Salesman” (2016) repeated the feat, giving Farhadi his second Oscar. Along the way, the film also earned Best Screenplay and Best Actor awards at Cannes. Farhadi’s double victory placed him in the rare company of filmmakers like Ingmar Bergman and Federico Fellini, whose works have defined global cinema.

Iranian cinema’s influence has extended well beyond Cannes and the Academy. At the Busan International Film Festival in South Korea, Iranian films such as Parviz Shahbazi’s “Deep Breath,” Morteza Farshbaf’s “Mourning,” and Mohammad Ahmadi’s “Poet of the Wastes” have earned FIPRESCI prizes. These wins highlight the diversity of Iranian voices and their appeal across Asia.

Iranian directors have also triumphed in Venice, with Shahram Mokri’s “Fish & Cat” (2013) winning the Special Prize for Innovative Content. Younger filmmakers like Saeed Roustayi (”Just 6.5”) and Houman Seyyedi (“World War III”) continue to receive global attention, ensuring that Iranian cinema remains vibrant and forward-looking.

Global critics have habitually pointed to the factors making Iranian cinema distinctive as being the use of allegory, its focus on children as heroes, and the ability to tell universal human stories.

Roger Ebert once described Kiarostami's films as movies that “help us better understand the world we live in.” Iranian film has, in fact, been a kind of cultural ambassador, offering educated images of Iranian life to counter international media stereotypes.

Besides, the range is awe-inspiring: all of the world's major film festivals have celebrated an Iranian film at least once since the 1980s. European and North American national cinemas alone match this record of consistency.

While Iran celebrates National Cinema Day, its cinema practitioners continue to push into new styles and forms. Reza Dormishian and Vahid Jalilvand are some of the directors attempting to rupture the status quo with socially relevant features.

The tally of awards—Palme d'Or, Golden Bear, Silver Lion, Golden Leopard, Academy Awards—is not merely a list of statuettes. It is a testament to the universal allure of the Iranian narrative. And as a new generation of filmmakers comes on board, the world awaits the next chapter in this remarkable saga.

SS/