Problem statement: The study of the relationship between cinema and philosophy is one of the most important fields of interdisciplinary studies. Using the philosophical ideas of Western philosophers to read the works of Eastern artists can enhance the achievement of the values of artworks. Martin Heidegger’s view and the use of his thoughts in reading the Acinematic works of Mohammad Reza Aslani is one of the new interdisciplinary topics between cinema and philosophy. Heidegger believes ‘poetic-being’ is differentiated from other beings and emerges in language as “the house of being”. The truth in poetic language is happening and emerging from being to becoming, furthermore the mentioned happening, from the origin of the art work to poetic dwelling of the artist in his work is an ongoing and current dynamic process. If we consider Acinema as a poetic art, a noticeable similarity with the vision and notion of Heidegger would be appeared. According to Lyotard`s view, the French contemporary philosopher, Acinema is an unconventional current in cinema in which two current, excessive movement and stillness. Mohammad Reza Aslani, as a filmmaker with his poetical and philosophical background, has builds up a movement in his films that by focusing on stillness concerning a deep thought through the world of images, reminds us the Heidegger`s idea of specifying the happening of truth. In one of his movie called ‘Jâm-e- Hassanlou’ (Hassanlou`s chalice, the story of a person who asks) that produced in 1967, he has tried to decipher the engravings on the chalice by the poetic description so as to build up an emerging of truth which Heidegger explained in his philosophy. It is worth to mention that Hassanlou`s chalice is amongst eminent artifacts of ancient Iran.
Research objectives: Introducing Mohammad Reza Aslani`s Acinema as an epitome of truth`s happening in work of art based on Heidegger`s philosophy.
Research method: The methodology of this research paper is based on descriptive-analytic approach where in gathering information, library method is used by referring to the visual works of Mohammad Reza Aslani, the contemporary Iranian filmmaker.
Conclusion: Aslani, relying on the identification of Acinematic movement and by emphasizing on images with stillness, builds up a happening of truth in his works including two aspects of truth: happening and emerging of truth in the work itself and appearing of truth by the work itself.