Since the film is a representation that produces and reproduces various meanings, it inevitably has a close relationship with various issues such as politics, economics, culture, family, society, and so on. This study aims to first explain the concept of representation in the field of power, culture and language, and then to use Stuart Hall's theories and his applied strategies to examine how the Afghan people are represented in post-revolutionary Iranian cinema. With the help of Stuart Hall-specific patterns and the method of analyzing the structure of Keith Selby and Ron Cowdery, we try to examine the Afghan characters that appear in each film as the main role, and through representational strategies such as stereotyping, naturalization and highlighting, film. Based on the main research question; In terms of how the Afghan people are represented in Iranian cinema, research shows that Afghans in history process of post-revolutionary Iranian films are first, immigrants, patriarchs, family members, conservatives, obedient, simple, and hardworking. They have low financial capacity, cultural status and social class. Growing up in Iran, they were able to improve their financial situation, cultural status, and social class, start a family with the Iranian people, buy a house and study at university in Iran.