Cinema, as a significant arena for the representation of and reflection on social relations, plays a role in shaping the lived experiences of individuals and families. In Iranian cinema of the 2010s (the 1390s), the family has become a focal point for displaying tensions, conflicts, and critical situations in many social narratives. This study aims to analyze how social pathologies of the family are represented in seven selected Iranian films from this decade. Using qualitative content analysis, the data were analyzed based on a theoretical framework integrating Anthony Giddens’ concept of “pure relationship,” the conflict approach of Thomas and Znaniecki, and feminist theories of violence. The findings indicate that the representation of family social pathologies in the studied films is primarily formulated through four recurring patterns: communicational crises and concealment in family relationships; control and restriction of individual agency within the family; marital conflict and the erosion of familial support; and structural, economic, and social pressures affecting family instability. At the narrative level, these patterns are highlighted through signs such as silence and communicational ambiguity, interference in individual decisions, restriction of autonomy, and normative pressure from others. In conclusion, the results demonstrate that the films under study represent the family as a multi-layered network of communicational, normative, and structural factors. It is emphasized that the findings of this research pertain to the mode of representation of family social pathologies within the text of the studied films; generalizing these findings to the social