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In this article films made for cinema by the Iranian filmmaker Bahram Beyzaie are examined using sociology of art and semiotics point of view. Our main claim is the possibility of gaining a coherent knowledge about a society by referring to its artistic products. This claim is justified using Goldmann and Duvignaud Theories in the sociology of art. Beyzaie’s movies are studied and explained to support this claim. Using internal criticism and Semiotics, the meanings inherent in the movies are well understood, and then with incorporating the movies into their contemporary social conditions, using external criticism and sociological analysis, the relationship between art
and society is explained. The main finding of the research, on the one hand, is that the society which is drawn by Beyzaie is a utilitarian society full of tensions which has no sympathy with its intellectuals, and on the other, that he has seen himself in that society as an unwanted intellectual. Finally, in this article Beyzaie is shown as the representative of middle class, nationalist intellectuals, from whose perspective, he has illustrated, introduced, analyzed and criticized society, through his films.