Cinema as a mirror of postrevolutionary cultural negotiations. After the revolution, Iranian cinema becomes a shared format for national self-representation. Despite censorship and practical constraints, filmmaking developed a coded but locally recognizable language to explore tensions around class, region, gender, history, and politics. Acquiescing to censorship requirement that women actors never unveil, even when represented in private alone or with other women, filmmakers and audiences found themselves undermining the dramatic artifice of the cinematic fourth wall, the convention of invisible, passive dramatic observation taken for granted in modern filmmaking. Instead, audiences became collaborators of cultural meaning, acknowledging cinematic artifice and the possibilities of symbolic representation. Canny directors involved their viewers as conscious partners in a community of interpretation, pushing the limits of cultural critique. These self-reflexive Iranian films provide the most accurate format for reflecting on postrevolutionary national and political developments, making postrevolutionary Iranian cinema a mirror for national subjectivity and society.