Umberto Eco's semiotics in cinema is based on the elements of expression and content, culture, and interpretation. In this context, codes, which are the relationships between expression and content, are of particular importance. On the other hand, Iranian postmodern cinema is a critique of tradition, society, family, identity, and truth in the context of culture. The representation of these expressions in postmodern cinema leads to interpretations by the audience, in which cultural aspects play a significant role. According to Eco's semiotics, codes are formed by events, associations, representations, conventions, correlations, implications, interpretations, descriptions, narratives, and conceptual codes. These codes reflect Eco's contribution to semiotics in cinema and provide a more precise understanding of Iranian postmodern cinema.Despite all of this, it is clear that there is currently no complete system for the semiotics of postmodern cinema. This means that we are still learning and discovering how signs and meanings function in films. However, there are general rules for codes that also apply to cinema and film. These rules refer to how signs relate to meanings and how those meanings are interpreted by audiences. In Iranian postmodern cinema, signs, symbols, and codes play a key role in the representation and interpretation of a new reality. This is consistent with Eco's view of signs and events.The meaning of Iranian postmodern films is constantly changing and evolving. This is due to the intertextuality of this type of cinema. In this type of cinema, filmmakers use numerous references to other cinematic, literary, and artistic works. This adds new layers of meaning to the film and allows informed audiences to interpret the work in multiple ways.Overall, Iranian postmodern cinema, from the perspective of Eco's semiotics, deals with the representation and interpretation of a new reality. This is done through the use of signs, symbols, and codes, as well as intertextuality. This research is theoretical-applied in terms of its purpose and descriptive-analytical in terms of its method. The statistical population of some works of world and Iranian postmodern cinema and also a case study of Mohammadreza Aslani's film "Chess of the Wind" have been considered.
