This thesis examines the films of Iranian director Bahram Beyzāêi through the lens of architectural space and spatial storytelling. It explores how Beyzāêi uses architecture—not merely as a backdrop, but as a narrative device that articulates character, memory, and social commentary. Focusing on selected films including Maybe Some Other Time, Journey, Killing Mad Dogs, Travellers, and Death of Yazdgerd, the study analyzes how spatial design, mise-en-scène, and movement through architectural environments shape narrative meaning and emotional depth. Drawing on theoretical frameworks from Juhani Pallasmaa, Giuliana Bruno, Renée Tobe, and others, the paper situates Beyzāêi's cinema within a broader architectural discourse, revealing how his cinematic spaces reflect cultural identity, psychological states, and transformation. Ultimately, the thesis argues that Beyzāêi’s films use architectural space as a cinematic language—one that is deeply embedded in ritual, memory, and metaphysical inquiry.