Rewritten Title:
“From Protector to Rival: The Evolving Role of Fathers in Iranian Cinema and TV”
The Changing Face of Fatherhood in Iranian Storytelling
In recent years, Iranian cinema and homegrown TV series have undergone a striking shift in their portrayal of fathers. Once depicted as hardworking breadwinners or wise family patriarchs, fathers are now increasingly cast as obstacles to their children’s dreams, freedom, and even love. This transformation reflects a broader cultural conversation about authority, control, and generational conflict.
Two recent productions—Pir-Pesar (Old Boy) and Shekargah (The Hunting Ground)—exemplify this trend, presenting fathers not as protectors but as rivals to their sons.
The Tyrant Father: A Prison of Control
In Pir-Pesar, Gholam (played by Hassan Poureshirazi) is a domineering, embittered father who rules over his two sons in a cramped, decaying home. Far from a sanctuary, their household feels like a suffocating prison where dreams wither under his harshness. Gholam’s addiction and cruelty create an atmosphere so oppressive that even love becomes a battleground.
The film introduces an unconventional rivalry: father and son competing for the affection of the same woman. Here, the woman symbolizes not just romance but freedom—an escape from the cycle of control. Gholam sees his son’s love as a threat to his dominance, leading to a silent, tense struggle that unfolds through glances and unspoken tensions.
The Feudal Patriarch: Love as a Threat
Meanwhile, Shekargah, set in the Qajar era, follows Mir-Ata Khan (Parviz Parastooi), a powerful guardian of a cursed royal treasure. On the surface, he is a protective father, but beneath lies a man determined to control his son’s emotions. When his son falls for a woman tied to Mir-Ata’s own emotional world, the patriarch perceives it as a challenge to his authority. What begins as paternal concern escalates into a battle for ownership over love itself.
Fatherhood as a Structural Battle
Both works frame the father not merely as an individual antagonist but as a representation of a deeper, systemic issue: a patriarchal structure that views love as a means of control rather than a human connection. Whether in a bleak modern apartment or a lavish historical estate, these fathers weaponize emotions—using guilt, manipulation, or outright rivalry—to maintain their grip.
A Cultural Shift on Screen
This shift in storytelling is no accident. For decades, Iranian narratives upheld the father as an unchallenged authority. Now, productions like Pir-Pesar and Shekargah reflect a society questioning these dynamics. By portraying love as a battleground between generations, they accelerate a cultural reckoning with paternal control.
Ultimately, these stories suggest that love, even under the shadow of an overbearing father, is not impossible—but it can become a fierce and transformative struggle.
(Images: Scenes from Pir-Pesar and Shekargah highlight the tense father-son dynamics.)
