Referring to the nature of the hidden in art one may rephrase theGerman philosopher Jean Paul: art brings out the hidden, or the obvious absenceof it.The hidden as a concept in film dramaturgy can manifest itself at all levelsof the story’s content. This article represents the mechanism of the hidden bythe so called ‘‘latent’’ dramaturgy which is relevant to a serene, dormant style inpictorial art. So, many canvases created in the 17th-century during the GoldenAge of Dutch painting, were termed ‘‘stilleven’’ insofar as they presented a kindof frozen, silent life of things. Terming this style as ‘‘latent’’ is most suitable formany films whose authors are not so much concerned with the dramatic twistsand turns of the plot as with the impact of external conflicts on the inner worldof the characters and their ways of dealing with life challenges.The style of latent dramaturgy is most obvious in contemporary Iranian filmscharacterized by a matter-of fact tonality and deliberately muted emotions. Theimagery and the entire meaning of the film are revealed in understatement.The concept of the hidden in Iranian films exemplified by latent dramaturgyis determined by the realities of Iranian society, by its bans, its censorship, Islamicideology and many taboo subjects which lays the groundwork for resorting toundertones and parables. Additionally Iranian filmmakers draw inspirationfrom the rich heritage of the ancient Persian culture.Using the mechanism of the hidden, latent Iranian dramaturgy touches uponcrucial aspects and mysteries of human existence. Without emotional expressionand profound effects, just by dramaturgic means, Iranian films manage to arouseempathy.