The depiction of Imam Mahdi and sacred characters in cinema

This article seeks to analyze the invisible half of cinema, usually due to its hidden nature, to an almost aesthetic approach to dealing with the religious works related to the life of Imam Mahdi and the sacred characters. This invisible half is called absenteeism to distinguish it from the other half in our sight. Because cinema is not the only spectacle, despite its perception, it does not play its part in cinema. Using documentary-library research method and analyzing some of the works of Iranian religious cinema, this article attempts to give a theoretical basis to some of the challenges of Imam Mahdi's imagination and sacred personalities in the absence of aesthetic approach. That is, by explaining and applying the absenteeism, these challenges turn into theoretical and practical opportunities in the field of cinema.
The results of the research show that the absence of addressing the personality of Imam Mahdi and the holy figures is not merely a defect in their imagery, but can be used to further enrich the infinite role. On this basis, the absence is not necessarily synonymous with the absence of anything, but rather a hidden form of presence. In this sense, the presence of the absence without damaging to the innocent, as well as the drama of the drama, can produce a work of fantasy, empathy, companionship, believability, attractiveness and affecting cinema drama.