This article aims to study the significant language and expression methods of Abbas Kiarostami’s cinema by analyzing the context and structure of a movie titled Shirin, focusing on its narrative and internal elements in a deconstructive manner .The movie is a masterpiece in which life’s passion is intermingled with death, nothingness, and despair. Analyzing the movie Shirin is an attempt to rediscover human nature and its relation with the truth beneath life. Through deconstruction, we can comprehend the narrative as an anti-narrative, actors turn into non-actors, the audience becomes the active actor, and the director can be identified as the sole and primary creator of the picture. A criticism of the structure of the cinema from within itself is taken into consideration in this feature. The current paper seeks to find the answer to the following questions: How are language and expression achieved in Shirin movie? How is the content of this movie conveyed to the audience, and how is the viewer’s position explained within the process of perception and understanding of the film? This article is conducted with a descriptive-analytical method to improve the understanding of art-house cinema. Drawing on the opinions of Jacques Derrida, the results indicate that the film Shirin while presenting both the passion and suffering of love in a fluid, dynamic and deconstructive process focuses on many characters of Nizami’s including Shirin along with their personal and inner stories. The movie’s content conveys a new perspective by modifying and deconstructing dual confrontations in form and content and reveals the distinguishing aspects of the cinema audience in a position of creating meaning while transforming the perception of the viewer and his role in the cinematic discourse
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