Urban Space and Capital in Iranian Cinema: Intersections of Gender, Psyche, and Society in Mehrjuee's The Tenants, Bayzaee's Killing the Dog, and Farhadi's The Salesman

Abstract

In recent decades, the rise of what is colloquially called the jerry-building industry in Iran has significantly reshaped the urban landscape and the lives of its citizens, often disregarding concerns for aesthetics, mental health, and social welfare. This paper critically examines the impact of real estate developments and the second circuit of capital on Tehran’s urban space as represented in three seminal Iranian films: Dariush Mehrjui’s The Tenants (1986), Bahram Bayzaee’s Killing the Dog (Sagkoshi) (2001), and Asghar Farhadi’s The Salesman (2016). Using Urban Cultural Studies, sociospatial approach, theoretical insights of Henri Lefebvre, and David Harvey’s critiques of capital, it explores the commodification and capitalization of space. Through detailed textual analyses, the films reveal how profit-driven property development and ‘creative destruction’ lead to spatial dislocation, irreversibly disrupting the lives of Tehran’s residents. The narratives highlight how such transformations generate various forms of violence, contributing to a risk society. By engaging with Marxist critiques, psychoanalytic theory, and embodiment studies, the paper unpacks the complex interplay between space, capital, body, and psyche, illustrating how these forces converge to shape personal and societal struggles. This exploration sheds light on the broader socio-political realities, particularly unchecked urbanization in Iran.