Objective: This article aims to identify the components of a poetic atmosphere within the directorial code of Mehdi Zamanpour Kiasari’s works and to provide a practical understanding of these techniques.
Research Methodology: This study is written using a descriptive–analytical method with a neo-formalist critical approach. In other words, while the method of analyzing the findings in this article is descriptive, since the object of study is a cinematic film, its critique is conducted using the neo-formalist approach.
Findings: Poetry consists of four fundamental elements: thought, imagination, rhythm, and emotion. Poetic cinema is a form of cinema that, in its form and narrative, approaches these characteristics and blends realism with emotional content. The technical and objective representation of this claim, using the neo-formalist method in examining poetic schools and styles as well as filmmakers associated with poetic cinema, reveals four shared characteristics: (1) the use of non-professional actors, (2) filming in natural locations, (3) natural lighting, and finally, a simple narrative, which in a sense constitutes a protest against classical Hollywood cinema.
Discussion and Conclusion: Zamanpour Kiasari has likewise succeeded in creating a poetic atmosphere through the correct repetition of these formulas. In the domain of directing, by employing découpage based on mise-en-scène, the use of static frames, directing performances from non-professional actors, natural lighting, minimalist mise-en-scène, traditional sets and costumes, event-based and occurrence-driven direction, and a figurative mode of expression, he has created simple yet profound emotional moments and has imbued his works with a poetic sensibility.