This chapter examines the relationship and interactions among points of voice, listening, and hearing (particularly with respect to nuances between listening and hearing). In a patriarchal cinematic system such as New Iranian Cinema where women have a subordinate status and where the cinematic representations of their bodies are tethered to cultural norms such as the aforementioned modesty rules, it is important to examine the ways in which voice, listening, and hearing may seem to offer moments of resistance but are ultimately recuperated into dominant representational modes of feminine subordination. The chapter investigates the presentational and non-presentational elements of the soundtrack and their interactions with visual elements in the early films of New Iranian Cinema (early 1980s) to address the repression of women within this cinematic movement. Mladen Dolar’s description of the act of listening, Michel Chion’s analysis of locating voice on- and off-screen space as well as the notion of acousmatic voice, and Julia Kristeva’s exploration of abjection frame the main arguments of the investigation. The chapter also suggests a modification to Michel Chion’s concept of the acousmatic voice.