In recent days, the eyes and ears of the world have turned toward Iran, as bombs and accusations fly. But for the cinephiles which make up the Criticker community, the country has long been top of mind. Over the past few decades, Iran has earned a reputation as one of the most vital forces in global cinema.

Often operating under the constraints of censorship and limited budgets, Persian filmmakers have responded with ingenuity, using simplicity and metaphor to craft emotionally resonant stories. The result is a body of work that consistently garners international acclaim, offering rich, layered portraits of everyday life, morality, and resistance.

One of the aspects which sets Iranian cinema apart is its unique ability to blend social realism with poetic subtlety. Directors like Abbas Kiarostami, Asghar Farhadi, and Jafar Panahi have become globally recognized figures, not just for their artistry but also for the quiet courage their films often embody -- as well as the courage it takes to make them. In this article, we'll highlight some of the titles which the users of Criticker especially love.

If you haven't yet begun your exploration into Iran's incredible cinematic output, a good place to start might be our film database, filtered on Iranian Cinema from 2000 and beyond, ordered by the number of ratings at Criticker.

A Separation (2011, dir. Asghar Farhadi)

This Oscar-winning drama is one of Iran's most internationally celebrated films, and for good reason. It begins with a couple's decision to divorce but unfolds into a gripping moral mystery that touches on class, religion, gender, and justice in contemporary Iran. Farhadi's direction is masterful, presenting complex characters without judgment and showing how good intentions can still lead to devastating consequences.

Certified Copy (2010, dir. Abbas Kiarostami)

Though set in Italy and starring Juliette Binoche, Certified Copy is very much a product of Kiarostami's sensibility: playful, enigmatic, and deeply philosophical. The film blurs the line between fiction and reality, following a man and a woman who may or may not be meeting for the first time. It's a cerebral yet emotionally charged meditation on authenticity, love, and identity.

Taxi (2015, dir. Jafar Panahi)

Filmed clandestinely after the Iranian government banned him from making movies, Taxi is both a daring act of defiance and a warm, often funny look at Iranian society. Panahi poses as a taxi driver, picking up a series of passengers whose conversations reveal the tensions and contradictions of life under authoritarian rule. It's inventive, humane, and remarkably light on its feet, despite the political weight behind it.

A Hero (2021, dir. Asghar Farhadi)

Another morally intricate tale from Farhadi, A Hero centers on a man temporarily released from prison who becomes a media sensation for returning a lost bag of gold. But as the story unravels, so does the line between truth and manipulation. The film critiques the role of public image and social pressure in modern Iran, offering no easy answers but plenty to ponder.

Hit the Road (2021, dir. Panah Panahi)

Directed by Jafar Panahi's son, Hit the Road is a fresh and moving family drama that balances absurd humor with quiet heartbreak. A family embarks on a road trip across Iran, their true purpose only gradually revealed. With echoes of Kiarostami's earlier work, the film explores themes of exile, familial love, and political uncertainty, all through the irrepressible energy of a young boy in the backseat.

The Song of Sparrows (2008, dir. Majid Majidi)

A quietly powerful drama, The Song of Sparrows tells the story of a rural ostrich farmer who loses his job and begins working in Tehran. As he struggles to provide for his family, the contrast between village innocence and urban corruption becomes a central theme. Majidi's signature tenderness and visual lyricism are on full display, capturing the dignity of everyday life and the emotional weight of change.

Leila's Brothers (2022, dir. Saeed Roustayi)

One of the most talked-about Iranian films in recent years, Leila's Brothers follows a working-class woman trying to hold her struggling family together amid Iran's spiraling economy. With its long runtime and layered character work, the film paints a raw, compelling picture of generational tension, systemic collapse, and resilience. It was banned in Iran but earned international acclaim, showcasing the increasingly bold direction of Iranian cinema today.

There Is No Evil (2020, dir. Mohammad Rasoulof)

Winner of the Golden Bear at the Berlin International Film Festival, There Is No Evil is a bold and emotionally charged anthology film exploring the moral toll of capital punishment in Iran. Told in four distinct segments, each story revolves around individuals—soldiers, doctors, families—forced to confront the brutal consequences of state-sanctioned execution. Directed in secret due to Rasoulof's ban on filmmaking, the film is both a defiant act of resistance and a deeply human exploration of conscience, complicity, and courage.