Intertextual studies hold a significant position in literary and film studies. In this field, in addition to focusing on the primary text, the textual interactions between various works are also emphasized. Under the influence of this field, a network of texts is created, and the relationships within the work develop into a broad, complex, and intertwined system, leading to pluralism in meaning. Among these theories, Gérard Genette’s theory of transtextuality is considered one of the most comprehensive frameworks in the study of intertextual relationships. Transtextuality is composed of five categories: intertextuality, paratextuality, metatextuality, architextuality, and hypertextuality. Each of these models reveals a specific form of relationship between texts. This article examines Gérard Genette’s theory of transtextuality and applies it to two films by Asghar Farhadi: About Elly (2009) and The Salesman (2016). The central question of this study is which of the five types of transtextual relationships are present in these two films and how these relationships, through the creation of multiple layers of meaning, contribute to the deepening of signification and the expansion of semantic horizons within the films’ narrative structures. The research findings indicate that each of the case studies possesses three categories of transtextuality. In About Elly, through references to other texts and works such as German proverbs and the film L’Avventura, it adds depth to its narrative and content layers. In The Salesman, through references to the play Death of a Salesman as well as Iranian stories such as The Cow and Gīleh-Mard, it contributes to the deepening of character development and the construction of a multilayered narrative structure. This study demonstrates that the theory of transtextuality can serve as an effective tool for analyzing the hidden layers within cinematic works.