The paradox that Joseph Slaughter discusses in Human Rights, Inc.-- i.e. the fact that repressive and dictatorial regimes speak the language of human rights and indeed oppress and repress in the name of those very rights--is nowhere more evident than in contemporary Iran, where the current government’s insistence on both its exceptionality and exemplarity in the face of external pressures concerning the human rights of its citizens has exacerbated the domestic perception of the impossibility of either achieving justice or publicly discussing its absence. This has led to the proliferation of alternative forms of critiquing the political nature of justice in Iran, including forms that appeal to or seek to engage an international audience. One such form is film. While many critics have observed the way in which the state-monitored cinema of Iran has ironically managed to defeat the imperatives and constraints of the system that oversees it, this paper attempts to go beyond that thesis to demonstrate the ways in which films made over the past decade in Iran increasingly suggest not only that justice is impossible to achieve within the Iranian juridical sphere but that the medium of film itself can serve as a form of extrajudicial appeal. Many of these films achieved remarkable success among both domestic and international audiences. Of the films this paper addresses, Asghar Farhadi’s “A Separation” engages the institution of justice most explicitly, setting its opening and closing scenes in a courtroom and addressing two different kinds of legal cases that must be resolved within the parameters of the film, while Jafar Panahi’s “This Is Not a Film” addresses the outcome of his day in court indirectly, by following a day in his life under house arrest. Both films appeal to the audience for justice, asking them to serve as judge and jury, but can the verdict audiences reach be transformed into real political consequences for the regime these films critique? The Cine Foundation, its “White Meadows” project, and its commitment to producing a series of protest films that would lobby for the reversal of Panahi’s and his collaborator Mohammad Rasoulof’s sentences, suggest that film does indeed have the power to mobilize international response to injustices perpetrated by the Iranian legal regime. This paper will examine the White Meadows project and other ways in which film has been marshaled as a form of extrajudicial appeal.