This study seeks to understand the ways of constructing and representing the divorced female subject in Iranian cinema of the last decade. The research has been done by using the method of semiotics and combining the approaches of Barthes, Fisk, Selby & Cowdory and the theoretical framework based on Subjectivity from Althusser's point of view and Hall's representation. Using Purposeful sampling, three films (nahid, rage khab and inja bedoone man) were selected for analysis. The results indicate that the lower social class, being exposed to be judged, people's biased view of divorced single women, society's indifference and society's suspicion of independent and divorced women, the reproduction of a cycle of violence by them and society, Behavioral, living, economic, and unhealthy behaviors and showing the recovery of femininity in environments such as the kitchen are among the most important ideological codes that have found meaning in these films. Adherence to ideology (patriarchy) is also so blind that women, as subordinates, internalize and reproduce it themselves, like the landlady in rage khab. Also, the patriarchal ideology is so ingrained in the people of society and in the daily relations of people, tradition and family that the divorced woman becomes the obedient subject of ideology and acting against it leads to questioning by individuals that becomes fascinated by ideology.