This research investigates the manifestation of the Persian-Islamic concept of the "imaginal realm" in cinematic aesthetics and its impact on viewer perception. Drawing upon the seminal work of Persian philosopher Suhrawardī (1154–1191), who proposed the existence of the "imaginal realm" as a transcendental level between the realms of "intellect" and "matter," the study explores its role in cinematic imagery. The "imaginal realm," also known as "Alam al-Khayal" or "the imaginary world," exists as a transitional space between the material and immaterial worlds, housing non-material and suspended forms. Perception of this realm demands a mystical experience and inner sense activation—an inward transformation of corporeal senses. According to Suhrawardī, only by closing the outer eyes can the inner eye open, allowing the perception of the truth inherent in imaginal images. Suhrawardī terms this inner vision as "imagination," serving as the subtle, perceptual organ of this supra-sensory realm. Despite its non-material and supra-sensory nature, this concept finds expression in cinema, as theorized by film scholar Laura Marks. However, the inherent non-perceptible and supra-sensory nature of the imaginal realm raises questions about its representation through cinematic images. This research seeks to address this contradiction and delve into the potential mystical effects experienced by the spectator. The primary objective of this study is to explore how the cinematic image embodies the imaginal realm and whether it elicits a mystical involvement or sense-transformation in the spectator beyond conventional cognitive perception. To investigate these inquiries, the research focuses on the Iranian film, The Green Fire (2008), directed by Mohammad-Reza Aslani. Through a detailed analysis of the film, I reveal how cinematic images transcend the cognitive-sensory level, providing a gateway to a reality that surpasses individual perceptions. This exposure to a higher realm stimulates the viewer's inner senses, akin to a mystic encounter, inviting them to explore the profound depths of imagination. Employing a cosmopolitan research approach, this study bridges Islamic philosophy and film theory to unveil the profound impact of the Persian-Islamic concept of the imaginal realm on contemporary theories of cinematic images and film spectatorship, enabling profound reflections on the nature of perception and reality in cinematic discourse.