On the other hand, many of the New Wave’s great films still cannot be shown in Iran, just as the academic film historiography, presumably global now, has yet to give it a chance to find its deserving place within the international canon of art (read modernist) cinema. Almost all of the examples presented here are drawn from MoMA’s upcoming film series Iranian Cinema before the Revolution, 1925–1979, a selection unparalleled in its scope and insight. In time, certain material formations come to the fore in this piece—the ruin, the anguished body, the museum display, the mud-brick wall, the old neighborhood passageway.