This study has been undertaken to examine Iranian social-problem cinema from the perspective of the moral sociology of art, grounded in the principles of Mulla Sadra’s Transcendent Theosophy. Adopting a descriptive-analytical approach and drawing on fundamental concepts such as the primacy of existence, substantial motion, and the relation between beauty and perfection, it offers a critical evaluation of form and narrative in cinematic works. The central problem of the research is the reduction of art’s mission to passive visual reporting devoid of any horizon of transcendence. The findings indicate that trauma-centered cinema, through its excessive emphasis on environmental determinism, non-transformative narratives, and neglect of form and visual aesthetics, represents characters in a state of passivity; moreover, the filmic perception generated by such works leads to the degradation of the human soul. In contrast, the study proposes an affirmative model of perfection-oriented, growth-centered cinema, characterized by such components as a will directed toward the good, purposive action, and transformation. The results suggest that this approach can provide the ground for the growth and perfection of the soul, enabling its movement from decline to ascent. By establishing a link between aesthetic experience and the realization of the good, such cinema operates on ethical, sociological, and epistemic levels and, through embodied perception, paves the way for existential intensification and the simultaneous development of both the individual and society within the luminous horizon of human perfection.