The Indians (1357) is the story of passion and enthusiasm of young people who have dedicated themselves to cinema and would go through anything in life to achieve their dreams. The characters in the film are so possessed by the cinematic images that there is no hope of deliverance from this magic. Hence, The Indians can be considered a film about the power of images and their influence in life, identity and relationships of modern subjects. The Indians has a lot of narrative and technical potential to study some important theoretical topics about nature of cinematic and photographic image. These topics have attracted the attention of theorists in the field of photography and film, especially in recent years. Themes such as the role of cinematic images in shaping the alternative dream world for modern subjects, the relationship between cinema and the metropolis, the relationship between cinematic motion picture and photographic still image, the referential nature of photographic images, the role of media, film and photography in this case. Film and photography as perceptual prostheses and their function in creating artificial memories and experiences are prominent in this film. The present study, which has been done by descriptive-analytical method and using library sources, tries to explore these aspects and implications of the film by employing the opinions of thinkers such as Susan Sontag, Laura Malloy, Alison Landsberg and Elisa Marder. This study shows that using the ideas of contemporary theorists in re-reading the works of Iranian cinema, can reveal some of the hidden and neglected capacities of these films. The findings of this study reveal that The Indians, using various cinematic arrangements and adopting distinct narrative and technical strategies, works as a creative exploration of the nature of cinematic and photographic images, and the power of these images to influence Modern subjects. The film explores how cinematic images can be integrated into people's subjectivity, creating prosthetic experiences and memories for them. Memories which are not limited to the past and have the power to influence subject’s future. However, the filmmaker is not very optimistic about fate of these people and refers to the mortality that lies beyond the myth and fantasy of cinema. Although the Indians is a film about cinephiles, and the film constantly talks about cinema and movie stars, there are no cinematic scenes or there is no scene that shows these characters watching a movie throughout the film. In the climactic scene of the film in the cinema auditorium, the big screen curtain, which does not show any film, forms the background of most of the events. The huge vacuum that the curtain crystallizes could be a sign of the crucial absence at the heart of the Indians. The hole which The Indians’ fictional world is formed around, is nothing more than a vacuum, an absence disguised as an illusion.