After the Islamic Revolution, Iranian cinema underwent many religious, political, social and cultural changes, and an important part of it survived under the supervision of the government based on new cultural goals after the revolution. During these years, in addition to boycotting some figures and some themes such as recklessness in the common sexual relations in Persian films, dealing with some issues was faced with special sensitivities. One of these sensitive issues in Iranian cinema after the Islamic Revolution has been paying attention to the issue of minorities, including religious minorities. The present study tries to study the representation of religious minorities in Iranian cinema after the Islamic Revolution based on the views of Stuart Hall. In this study, in addition to Stuart Hall's strategies in the discussion of representation, John Fisk's cryptographic levels have been used to analyze minority characters, who have appeared in main or supporting roles in films. The results of this study show that the most dominant codes used in the representation of minority personalities, religious rites and ideologies of minorities have been the technical codes of dialogue. The ideology of "self" and "other" or "us" and "them" is repeated in most films. Minority figures are usually more vulnerable than Muslim figures. In general, these films do not mention the way of life of minorities, their social and religious activities, and finally, in the years after the Islamic Revolution, it seems that the use of stereotypical codes to represent characters Minorities are repeated in the films, and there is no innovation in the representations.