Adib Sobhani
Adib Sobhani, born in 1986 in Sanandaj, Iran, is an Iranian cinematographer in the film industry. A graduate of the Iranian Youth Cinema Society (IYCS) in filmmaking and holding a high school diploma in painting, Sobhani is a member of the Iranian Society of Cinematographers. He is recognized as a Director of Photography (DoP) in numerous feature films, short films, and documentaries. His films have been featured international film festivals, including Cannes, Venice, and Berlin.
Biography
Adib Sobhani was born in 1986 in Sanandaj, Iran. He graduated in filmmaking from the Iranian Youth Cinema Society (IYCS) and holds a high school diploma in painting. Sobhani is member of the Iranian Society of Cinematographers.
After completing his filmmaking course at the Iranian Youth Cinema Society in Sanandaj, Sobhani embarked on his career in the film industry, initially working in short films. His professional journey began as an assistant to renowned Iranian cinematographers Mahmoud Kalari and Hossein Jafarian. Over the years, Sobhani honed his craft in various roles, including camera assistant and lighting supervisor, contributing to over 30 feature films. Notable among his early works is his involvement in Asghar Farhadi's The Salesman, which gained international acclaim.
In 2016, Sobhani took on his first feature film as a Director of Photography (DoP) with the film Amir, directed by Nima Eghlima. Since then, Sobhani has worked on nine feature films, one feature documentary, and twenty short films. His works have been showcased at major international film festivals, including Cannes, Venice, Berlin, Locarno, and Karlovy Vary.
Awards
* Asian Film Awards (2025): Best Cinematography for The Old Bachelor
* Hollywood North International Film Festival (2024): Best Cinematography for The Two Lives of Sepideh
* CYRUS International Film Festival (2023): Best Cinematography for Beyond the Wall
Nominations
* International Cinematographers’ Film Festival MANAKI BROTHERS (2024): Nominee for Best Cinematography for Sheep
* ISFA Awards (2024): Nominee for Best Cinematography for Overflow
* Nahal Award (2024): Nominee for The Two Lives of Sepideh
* Tehran International Short Film Festival (2022): Nominee for Best Cinematography for Neigh
* Hafez Award (2021): Nominee for Latyan
Filmography
Feature Films
* Woman and Child (2025)
* Cinema Jazireh (2024)
* Terrestrial Verses (2023), Cannes Film Festival, Un Certain Regard section
* The Old Bachelor (2022), Rotterdam International Film Festival
* Beyond the Wall (2021), Venice Film Festival
* The Exam (2020), Karlovy Vary International Film Festival, FIPRESCI Critics Award
* LATYAN (2019), Karlovy Vary International Film Festival Nominee
Documentary Films
* From the Maat (2024)
Short Films
* Sheep (2024), Berlin International Film Festival
* The Two Lives of Sepideh (2023)
* Neigh (2022), Tehran International Film Festival Nominee for Best Cinematography
Critiques
* The Exam: "Very well performed and nicely filmed in widescreen with long takes and moody, film noir-ish lighting touches by DP Adib Sobhani. The film's cinematography creates a striking visual identity, contributing to its critical success" — Variety
* Beyond the Wall: "Sobhani’s cinematography uses scuzzy, shaky, handheld camerawork, making the film feel as ragged and sharp as razor wire, adding a raw texture to the narrative" — Variety
Biography
Adib Sobhani was born in 1986 in Sanandaj, Iran. He graduated in filmmaking from the Iranian Youth Cinema Society (IYCS) and holds a high school diploma in painting. Sobhani is member of the Iranian Society of Cinematographers.
After completing his filmmaking course at the Iranian Youth Cinema Society in Sanandaj, Sobhani embarked on his career in the film industry, initially working in short films. His professional journey began as an assistant to renowned Iranian cinematographers Mahmoud Kalari and Hossein Jafarian. Over the years, Sobhani honed his craft in various roles, including camera assistant and lighting supervisor, contributing to over 30 feature films. Notable among his early works is his involvement in Asghar Farhadi's The Salesman, which gained international acclaim.
In 2016, Sobhani took on his first feature film as a Director of Photography (DoP) with the film Amir, directed by Nima Eghlima. Since then, Sobhani has worked on nine feature films, one feature documentary, and twenty short films. His works have been showcased at major international film festivals, including Cannes, Venice, Berlin, Locarno, and Karlovy Vary.
Awards
* Asian Film Awards (2025): Best Cinematography for The Old Bachelor
* Hollywood North International Film Festival (2024): Best Cinematography for The Two Lives of Sepideh
* CYRUS International Film Festival (2023): Best Cinematography for Beyond the Wall
Nominations
* International Cinematographers’ Film Festival MANAKI BROTHERS (2024): Nominee for Best Cinematography for Sheep
* ISFA Awards (2024): Nominee for Best Cinematography for Overflow
* Nahal Award (2024): Nominee for The Two Lives of Sepideh
* Tehran International Short Film Festival (2022): Nominee for Best Cinematography for Neigh
* Hafez Award (2021): Nominee for Latyan
Filmography
Feature Films
* Woman and Child (2025)
* Cinema Jazireh (2024)
* Terrestrial Verses (2023), Cannes Film Festival, Un Certain Regard section
* The Old Bachelor (2022), Rotterdam International Film Festival
* Beyond the Wall (2021), Venice Film Festival
* The Exam (2020), Karlovy Vary International Film Festival, FIPRESCI Critics Award
* LATYAN (2019), Karlovy Vary International Film Festival Nominee
Documentary Films
* From the Maat (2024)
Short Films
* Sheep (2024), Berlin International Film Festival
* The Two Lives of Sepideh (2023)
* Neigh (2022), Tehran International Film Festival Nominee for Best Cinematography
Critiques
* The Exam: "Very well performed and nicely filmed in widescreen with long takes and moody, film noir-ish lighting touches by DP Adib Sobhani. The film's cinematography creates a striking visual identity, contributing to its critical success" — Variety
* Beyond the Wall: "Sobhani’s cinematography uses scuzzy, shaky, handheld camerawork, making the film feel as ragged and sharp as razor wire, adding a raw texture to the narrative" — Variety
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