Drawing on Jacques Rancière’s theory of political aesthetics, this article examines the role of Iranian New Wave cinema in reconfiguring the “visible” and its impact on shaping political sensibilities in pre-revolutionary Iranian society. The study asks how the New Wave, beyond a merely artistic transformation, created a new public experience of social reality through changes in representation and perception. It further investigates the aesthetic mechanisms through which Iranian New Wave cinema disrupted the dominant order of social perception and opened space for new political sensibilities. The article argues that by making visible subjects and spaces previously absent or marginal in commercial cinema, the New Wave reconfigured the “distribution of the sensible” and contributed to the emergence of a pre-revolutionary political imagination. The research is qualitative and based on theoretical-interpretive analysis. Findings show that, through its focus on social realities, critique of consumerism, representation of moral crises, and depiction of subaltern life, this cinematic movement disrupted the dominant perceptual order and enabled new ways of understanding inequality and injustice.