In this article, an attempt has been made to study the method of representing food tables in Iranian cinema and its relation to social ties, their study and their implicit meaning with a semiotic approach. For this purpose, based on the logic of theoretical sampling, films (from post-revolutionary cinema) have been selected in which food and its preparation are the main themes or the gathering of the main characters under the pretext of eating is one of the key chapters in the narrative. However, this study began with the hypothesis that the food tables in Iranian cinema necessitate cultural ties due to cultural necessity, and this is a point that can also be seen in cinema; However, the implicit connection of this issue with concepts such as gender and class was also revealed. In other words, the image of food tables in Iranian cinema is an image that has an undeniable link with gender relations and in fact femininity as well as class differences.