Іранський кінематограф: феномен гібридності

The article explores how Iranian directors investigate the nature of reality through cinema, creat ing new methods of its representation. It discusses the ways in which key Iranian filmmakers blur the lines between reality and fiction in their works, examining the philosophical underpinnings of this approach. Purpose. The aim of the study is to examine philosophical concepts such as Jean Baudrillard’s «hyperreality», Jacques Derrida’s «différance», and Gilles Deleuze’s «time-image», which form the foundation of the hybrid approach in Iranian cinema. The research methodology is based on an interdisciplinary approach that combines philosophical analysis, film theory, and cultural studies. A detailed analysis of key films by Iranian directors such as Abbas Kiarostami, Jafar Panahi, and Mohsen Makhmalbaf is conducted, focusing on the techniques they use to blur the boundaries between documentary and fiction. The scientific novelty of this research lies in its comprehensive analysis of the Second New Wave of Iranian cinema (1985-1999) as a philosophical and cultural phenomenon that undermines traditional notions of reality and truth. Additionally, the study examines the impact of digital technologies on Iranian cinema and its hybridity. Conclusions. The findings indicate that Iranian cinema demonstrates a unique ability to explore and challenge the nature of reality through the combination of documentary and fiction films, offering new approaches to understanding the modern world through cinema