This research employs Umberto Eco's semiotics to analyze the concept of ekphrasis in Iranian postmodern cinema, focusing on Asghar Farhadi's film "The Salesman" as a case study. The central issue is how ekphrasis functions as a semiotic tool to generate multilayered meanings in postmodern cinema. The primary research question investigates how ekphrasis shapes complex meanings in Iranian postmodern films through the interplay of language, imagery, and cultural pre-interpretations. The research objectives include examining the role of ekphrasis in semantic representation, analyzing the interaction between language and image in "The Salesman," and identifying the impact of cultural pre-interpretations on audience reception. The methodology is descriptive-analytical with a theoretical-applied approach. Data was collected through an analysis of the film's visual, auditory, and narrative codes, particularly intertextual references to Arthur Miller's "Death of a Salesman" and Dariush Mehrjui's "The Cow." Findings indicate that ekphrasis in "The Salesman" not only facilitates the artistic representation of other works but also invites audience participation in meaning-making by activating cultural pre-interpretations. This technique reveals hidden semantic layers, including themes of identity crisis and moral decay, offering a more profound understanding of the complexities of Iranian postmodern cinema. This research highlights the active role of the audience in interpretation and the importance of cultural codes, paving the way for further semiotic analyses in Iranian cinema.