This article focuses on the post–Iran-Iraq War representations of the martyr figure, with a close reading of the film Safar be Chazzabeh. The author interrogates the gendered representation of martyrdom and masculinity as central to the narration of the postwar films. She shows how postwar films continue to keep Islamic nationalism in circulation through the martyr figure by conveying a fictive yet affective time of the nation where death opens space for the continuation of life. While post–Iran-Iraq War movies collapse men's emotional relations in the war zone with their heroic martyrdom for the nation-state's sake, they aesthetically mediate the possibility of men's homosociality in the precarious and affective intensity of the war zone.

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