TEHRAN -- At a recent symposium titled “Costs and Financing Methods of Filmmaking in Iran,” industry heavyweights sounded the alarm on the precarious state of Iran’s commercial cinema. 
Beset by severe financial challenges, inefficient management, and stiff competition from booming digital streaming platforms, filmmakers are calling on the government to step up with infrastructural support and ticket price reforms to prevent the collapse of an industry once celebrated for its rich storytelling.
Hosein Yazdanshenas, the event’s secretary, opened the discussion by defining commercial filmmaking as a profit-driven endeavor aimed at satisfying audience demand for escapism. 
Unlike independent cinema—often auteur-driven and festival-focused—commercial films rely on mass appeal, which sometimes results in formulaic, repetitive content designed purely for box office success rather than artistic merit.
Majid Sheikhansari, a veteran director and producer, emphasized the economic nature of Iran’s commercial cinema, distinguishing it from the expressive intentions of independent filmmakers. 
He highlighted the crucial difference between cash flow management and outright production costs, urging producers to adopt smarter liquidity strategies.
Director Masoud Atiabi further underlined the importance of savvy investment and budgeting, breaking down typical film expenses: 15% allocated to pre-production, 50% to principal photography (largely cast and crew wages), 10% to post-production, and 25% to marketing—an often underestimated but vital stage for a film’s commercial success. 
Atiabi stressed that underfunded films inevitably struggle to find audiences, stating bluntly, “If you make films by begging, you’ll have to beg audiences to watch them.”
Producers like Saeed Khani painted a sobering picture of an outdated industry still clinging to production models from the 1980s and 1990s, facing declining returns and rising costs—especially actor salaries. 
He warned that cinema cannot realistically compete with home-viewing platforms, which have only grown stronger during times of crisis like war. Khani advocated for extended pre-production periods, better collaboration with distributors, and legal reforms to tackle rampant piracy and copyright violations.
Producer Seyed Mostafa Ahmadi shared insights on financing mid-to-large budget films, revealing that some recent projects have successfully recouped investments through private partnerships, though the risk remains high.
Ali Dehkordi, head of the House of Cinema, framed the industry’s plight as a cultural illness requiring urgent “cultural doctoring.”