6 Masterpieces of Iranian New Wave Cinema

Cinema-ye Motafavet—also known as Iranian New Wave—emerged in the 1960s and 70s as an artistic response to the rapid modernisation and underlying paradoxes of Iranian society during the reign of the last Shah. These films, crafted by a small, passionate group of mostly self-taught filmmakers, combined documentary realism with poetic allegory, illuminating the complexities of their time. From 4-25 February 2025, Barbican Cinema presents Masterpieces of the Iranian New Wave. Including several meticulously restored and rarely screened films, the series offers a glimpse into the revolutionary spirit of this pivotal era.

Curator Ehsan Khoshbakht tells: “The collaborative spirit of these Iranian filmmakers created a remarkable coherence unparalleled in Middle Eastern cinema. Almost always subversive, these films reveal the contradictions of Iranian life with haunting clarity. They not only capture the genesis of an Iranian cinematic revolution but also foreshadow the social and political upheavals that culminated in the 1979 revolution. Tragically, this same revolution would lead to the banning of many of these trailblazing films.” Ahead of the programme’s launch, Something Curated takes a closer look at six standout works from Cinema-ye Motafavet.

Brick and Mirror (Khesht o ayeneh) – Ebrahim Golestan, 1964

Widely regarded as Iranian cinema’s first modern masterpiece, Brick and Mirror is a Dostoyevskian exploration of fear, responsibility, and societal decay. The film follows a Tehran cab driver’s attempt to locate the mother of an abandoned baby, navigating a fractured society rife with moral corruption. Golestan’s innovative use of direct sound and widescreen cinematography, paired with his poetic narration, creates a hauntingly claustrophobic atmosphere. This groundbreaking work is not only a vivid portrait of its time but also a universal meditation on alienation and humanity.

The House Is Black (Khaneh siah ast) – Forough Farrokhzad, 1962

Forough Farrokhzad’s The House Is Black is an extraordinary blend of poetry and documentary. Shot in a leprosy colony in northwest Iran, the film transforms harrowing realities into a sublime cinematic experience. Farrokhzad, a feminist poet, infuses the visuals with her lyrical voice, creating an unforgettable dialogue between human suffering and the redemptive power of art.

Chess of the Wind (Shatranj-e baad) – Mohammad Reza Aslani, 1976

After vanishing for decades, Chess of the Wind has been rediscovered as a haunting critique of decadence and patriarchy. Set in a decaying feudal mansion, this Gothic tale unfolds as a power struggle erupts following the death of a matriarch. Aslani’s meticulous attention to visual composition, coupled with Sheyda Gharachedaghi’s eerie score, evokes an atmosphere of corruption and despair. This film is a chilling mirror of the societal tensions that foreshadowed the 1979 revolution.

The Stranger and the Fog (Gharibeh va meh) – Bahram Beyzaie, 1974

Beyzaie’s The Stranger and the Fog takes viewers to an unnamed coastal village suspended in time, where rituals and mysteries unfold around a stranger who arrives by boat. Blurring the lines between reality and dream, the film’s circular narrative and symbolic imagery delve into themes of control and resilience. Featuring a strong-willed female protagonist, it challenges the victimised archetypes often found in 1970s Iranian cinema. This atmospheric masterpiece pays homage to global auteurs like Akira Kurosawa while remaining deeply rooted in Iranian cultural sensibilities.

The Sealed Soil (Khak-e sar bé mohr) – Marva Nabili, 1977

Marva Nabili’s The Sealed Soil is a quietly rebellious tale of resistance against patriarchy. Set in a rural village, the film chronicles the life of Roo-Bekheir, a young woman resisting a forced marriage. Nabili’s static camera and long takes, influenced by Persian miniature art and Robert Bresson, emphasise the suffocating repetition of daily life. Edited in New York just before the revolution, this minimalist critique of societal constraints is a poignant reflection of the growing tensions that would soon transform Iran.

Experience (Tajrobeh) – Abbas Kiarostami, 1973

Marking Abbas Kiarostami’s debut as a feature filmmaker, Experience follows a young photography shop errand boy navigating unrequited love in Tehran. Co-written by Amir Naderi, the film exemplifies Kiarostami’s characteristic minimalist style, blending realism with profound emotional depth. Its exploration of desire and rejection offers an intimate portrait of youth while showcasing the collaborative ethos that defined the Iranian New Wave.



Feature image: Still from Mohammad Reza Aslani’s Chess of the Wind (Shatranj-e baad), 1976