"Drunkenness and Flirtatiousness of Iranian Cinema"
Is cinema a mirror reflecting society, or an ideal utopia toward which we should strive?
This key question lies at the heart of the heated cultural debates currently unfolding in Iran — where the portrayal of “unveiling” and alcohol consumption in films, and especially in popular streaming series, has become a battleground of conflicting viewpoints.
These images are no longer just “scenes from a film”; they have become subjects of conversation at dinner tables, in taxis, and across social media.
But why does this issue stir such strong emotions?
To understand it, we must look at the phenomenon from several perspectives.
A Broken Mirror or a Window to the World?
Supporters, taking a realist approach, argue that cinema has a duty to portray the existing realities within layers of society — however bitter they may be. They ask, “Does hiding these issues mean they will disappear?” From their perspective, depicting such scenes can serve as the starting point for an honest social dialogue about the roots of social problems. In this view, cinema functions as a diagnostic clinic, not a beauty salon.
Opponents, however, respond angrily that cinema is not merely a mirror — it is an influential school. They warn that the normalization of such behaviors through beloved and popular characters, especially for the younger generation still shaping its identity, can be deeply harmful. From their standpoint, these images are not descriptions of reality but rather a promotion of lifestyles that contradict Islamic-Iranian values, blurring the line between depiction and prescription.
Cognitive Warfare in the Mind of the Viewer
The media play a significant role in “shaping our mental world.” When an audience—especially teenagers and young adults—repeatedly sees scenes in which the “successful,” “attractive,” and “modern” characters engage in behaviors such as drinking alcohol or not observing hijab, a positive emotional association gradually forms in their minds between these actions and those admired traits.
This is precisely the point critics emphasize: the “gradual and subtle effect.” They argue that such scenes, over time, lead to desensitization and weaken moral and religious boundaries in the collective subconscious.
On the other hand, supporters believe that cinema’s duty is not to enforce sensitivity but to depict the consequences of actions within the story’s context. If the hero loses their family as a result of alcohol consumption, that in itself delivers a powerful cautionary message.
The Conflict Between “Reality” and “Responsibility”
A director or screenwriter finds themselves caught in the middle of this struggle. On one hand, they feel the temptation to portray society in a raw and realistic way. They cry out, “I don’t fabricate lies! This is part of the social reality around us. If I’m not allowed to show reality, how can I talk about it?”
On the Other Hand
The weight of the artist’s responsibility toward society presses heavily on their shoulders. They know that their work is not merely a form of entertainment—it is a message. This question troubles the artist’s conscience: Does portraying deviant behavior, even with critical intent, ultimately contribute to its normalization?
Could the same idea be conveyed through a metaphorical, symbolic, or indirect language—one that carries an even deeper impact?
It is here that the line between a bold artist and a responsible artist becomes clear.
The Concern of a Nation
Beyond all analyses, this issue carries a deeply emotional dimension. For many people in Iran, hijab and abstaining from alcohol are not merely laws or religious commandments — they are part of our cultural and historical identity. They stand as symbols of resistance against cultural assimilation and serve as guardians of the identity boundaries of this ancient civilization.
When These Symbols Are Broken
When these symbols are casually violated in domestic cultural productions, many people feel that their identity is under attack. It is a form of collective anxiety — a deep fear of losing the distinctions and values that generations have struggled to preserve.
This feeling cannot be dismissed with the argument of “realism.” It is an old wound, one that is reopened with every such scene.
Conclusion: Is There a Third Way?
Perhaps the solution lies neither in completely removing such subjects nor in depicting them without restraint, but rather in the ethics of storytelling.
Are these scenes added merely to increase appeal and boost sales, or do they naturally emerge from the core of the story?
By showing these moments, does the filmmaker ultimately aim to promote or to warn? (This becomes clear in the final treatment of the work.)
Can the same ideas—such as illustrating a character’s depression or identity crisis—be conveyed, through creativity and refined artistry, without explicit or direct portrayal, and perhaps even with greater emotional impact on the audience?
Iranian Cinema: Standing in the Tension Between “Reality” and “Ideal,” “Art” and “Responsibility”
Iranian cinema stands in the middle of a field of tension — between reality and idealism, art and social responsibility. This ongoing debate reflects a living, dynamic society engaged in a deep intellectual struggle over its identity and its future.
The ultimate responsibility rests on our shoulders — the conscious audience: those who neither accept passively nor reject blindly, but through critique and dialogue, demand from cinema not only a mirror to reflect our world, but also a light to guide the way toward a better tomorrow.
Story by Meraj Mirahmadian