Iran today may be best known for two things: one of the most repressive regimes in the world and one of the most remarkable cinemas in the world. The coexistence of the two is a conundrum that perplexes many people. How does a country known for ferocious repression of dissent and artistic freedom produce some of the most impressive films in the world? What does this tell us about the relationship between autocracy and art? And how are we to understand Iran’s cinematic community, often a victim of the regime’s policies of censorship and persecution? Are Iranian films political by nature and if so, what is their politics?