Within the last decade the hitherto dim star of the Iranian film has gone supernova. Iranian "auteurs" are lionized by legends of cinema from Godard to Kurosawa and much breathless commentary has been written about a cinematic tradition that flourishes without many of the familiar technical and thematic elements of the cinematic loam.

Camera tricks, montage and meticulous mise-en-scene are rare in these movies; as are sex, violence and plot-driven suspense. The New Iranian Film does not conform to the familiar genre of "art-film" either: there is no heavy dredging of the existential depths, no conspicuous consumption of angst.

The Western viewers and reviewers, for whom Iran dissolves in images of the hostage crisis and the funeral of the Ayatollah Khomeini are puzzled by the refusal of the new directors of Iranian films to seek the easy emotional payoff of political grand-standing.

The above list of absences may leave the impression that the New Iranian Film is about recording the sound of one hand clapping. But, to its credit, the genre stays off the mystical path as well. In the following I intend to focus on three features of recent Iranian films and briefly highlight the way they reflect Iran's post-revolutionary moral, political and artistic climate.

The above list of absences may leave the impression that the New Iranian Film is about recording the sound of one hand clapping
上述名单中的缺席可留下的印象是，伊朗新电影即将录制的声音，一方面掌声。

But, to its credit, the genre stays off the mystical path as well.
但是，它的信用，体裁停留过了神秘的道路上来。

In the following I intend to focus on three features of recent Iranian films and briefly briefly highlight the way they reflect Iran's post-revolutionary moral, political and artistic climate
在以下我打算集中于三个特点，伊朗政府最近的电影和简单的方式，他们反映了伊朗的后革命道义，政治和艺术气氛。