This thesis analyzes Jafar Panahi’s Taxi Tehran (2015) and its representation of Iranians and Iranian society. Since Panahi’s latest work has been largely intended for a Western audience and indeed has had a wide reach outside of Iran, it is important to explore the concept of Orientalism that has influenced the modern era greatly, by creating the polarities of East/West. This paper intends to illustrate that Panahi’s film largely falls into Eward Said’s concept of Orientalism, which allocates the Oriental to a subordinate position regarding its occidental counterpart, thus widening the gap between the two. By comparing the film to an Orientalist painting from the colonial times, this paper tries to show that by consistent use of stereotypes in a high degree of realism, Taxi Tehran redefines Iranian society as the Other.