This article explores the potential for dismantling metanarratives within the realm of war cinema, drawing upon the philosophical insights of Jean-François Lyotard regarding the insufficiency of metanarratives in adequately interpreting the complexities of the modern world. It examines the cultural hegemony exerted by these overarching narratives while emphasizing the imperative to challenge them through the concept of paralogy. Furthermore, the article investigates the political and ethical dimensions of art—particularly cinema—as a medium to resist and undermine these totalizing narratives, referencing Lyotard’s notions of "differend" and "heterogeneous worlds" as they pertain to artistic expression. In this context, we analyze various narrative and visual systems (genres) within cinema that perpetuate super-narratives and metanarratives. Utilizing a descriptive-analytical research methodology supplemented by comprehensive library research, we aim to address two critical questions: "How can the collapse of political and narrative totalities be envisioned within cinematic narratives?" and "Does the cinema of the Sacred Defense possess the capacity to actualize this vision within the cinematic landscape?" Our findings suggest that the cinema of the Sacred Defense in Iran, distinguished by its unique narrative elements absent in prevalent global war films, not only subverts and deconstructs existing paradigms within the war genre but also carves out innovative rules that redefine its conventions.