A Good Day Will Come, recensione di Catello Masullo
credits : IMDB
A Good Day Will Come (2024)
Directed by
Amir Zargara |
Writing Credits (in alphabetical order)
Amir Zargara |
Cast (in credits order)
Sia Alipour | … | Arash | |
Mehdi Bajestani | … | Coach | |
Shoale Shahbazi | … | Mom | |
Moeid Zalaghi | … | Amin | |
Rest of cast listed alphabetically: | |||
Aria Changizi | … | Gas Station Worker | |
Yashar Mirian | … | Assistant Coach | |
Metin Ozturk | … | Arash’s teammate |
Produced by
Scott Aharoni | … | executive producer |
Sia Alipour | … | executive producer |
Weggon Allen | … | executive producer |
Sholeh Alemi Fabbri | … | executive producer |
Tina Gharavi | … | executive producer |
Rouzbeh Heydari | … | executive producer |
Fitch Jean | … | executive producer |
Asa Kazerani | … | executive producer |
Duygu Kizgin | … | line producer |
Shiva Negar | … | executive producer |
Nickie Shobeiry | … | executive producer |
Iman Tahsin | … | producer |
Amir Zargara | … | producer |
Music by
KB |
Cinematography by
Jelan Maxwell |
Editing by
Iman Tahsin |
Casting By
Melih Degirmenci | … | supervising casting director |
Costume Design by
Ferhat Çetin |
Makeup Department
Gokhan Horzum | … | hair stylist / makeup artist |
Sultan Sabire Karagöz | … | key makeup artist |
Production Management
Fetih Ceyhun | … | production manager |
Second Unit Director or Assistant Director
Aida Davoudi | … | third assistant director |
Naciye Eralp | … | first assistant director |
Saba Mengi | … | second second assistant director |
Engin Sengün | … | second assistant director |
Art Department
Eda Aslan | … | set dresser |
Dilan Kacanunlu | … | assistant property master |
Sound Department
Firat Bayram | … | boom operator |
Amir Mohabbati | … | sound editor / sound mixer |
Sara Nasrabadi | … | sound mixer |
Stunts
Yashar Mirian | … | Wrestling Consultant |
Metin Ozturk | … | Wrestling Consultant |
Lauriane Rouault | … | Action Designer |
Camera and Electrical Department
Özer Aksoy | … | gaffer |
Tan Altay | … | key grip |
Serhat Ekrem Asci | … | second assistant camera |
Ercan Bulut | … | Lighting Assistant |
Hakan Durukan | … | Best Boy |
Amir Mohabbati | … | first assistant camera |
Tugay Topal | … | Lighting Assistant |
Erdogan Tosun | … | grip |
Costume and Wardrobe Department
Ronya Bozoglan | … | wardrobe assistant |
Navrua Daban | … | wardrobe supervisor |
Editorial Department
Iman Tahsin | … | colorist |
Script and Continuity Department
Robbie Robertson | … | script editor |
Transportation Department
Derya BozKocak | … | Camera Truck |
Additional Crew
Harun Resit Akyüz | … | production assistant |
Bahadir Cin | … | production assistant |
Arya Esfandmaz | … | Wrestling Coach to Sia Alipour |
Jay Varsani | … | Acting Coach to Sia Alipour |
recensione di Catello Masullo: Un film breve, 26 minuiti durata, di grande intensità. Pluri-selezionato e pluri-premiato in vari festival internazionali (si veda in APPENDICE, nel seguito). Scritto e diretto da Amir Zargara, scrittore/regista iraniano-canadese (BIPOC), il cui viaggio cinematografico inizia con BECOME THE WOUNDED nel 2021. Da allora, ha diretto diversi cortometraggi, su cui spera di costruire la sua carriera cinematografica. I suoi film approfondiscono le complessità morali affrontate dagli individui, concentrandosi sulle aree grigie del carattere umano e sostenendo l’empatia rispetto al giudizio. A GOOD DAY WILL COME racconta una storia ispirata dalla tragica vicenda di Navid Afkari, un wrestler iraniano ingiustamente giustiziato nel 2020 durante un periodo di disordini diffusi e violazioni dei diritti umani in Iran. Nelle sue note di regia (si veda in APPENDICE), Zargara scrive: “Riconosco il mio privilegio di vivere in una società libera e sento una profonda responsabilità nell’usare la mia voce per coloro che non possono. Vedo questo progetto come un mio dovere, simile al servizio militare obbligatorio in Iran; è il mio modo di servire il mio paese da lontano.”. Obiettivo centrato in pieno. Per la potenza della storia, vera, e della narrazione, che è di alta qualità cinematografica. Con scelte di regia molto valide e comunicative. Come, ad esempio, nella scena iniziale della conferenza stampa dell’atleta prima dei campionati del mondo, allorquando un giornalista, fa riferimento ai moti di ribellione in atto nel paese, che hanno comportato svariate uccisioni e riferimento. Dopo che l’allenatore prova a bloccare la domanda, facendo presente che in quel luogo ci si occupa solo di sport agonistico, il protagonista, dopo un attimo di riflessione, risponde: “Io sono dalla parte del mio popolo. Questo ho imparato da mio padre”. Subito dopo la camera che lo riprende in primo piano si allontana, e continua a riprenderlo, ma l’immagine è coperta da ostacoli neri, che sembrano sbarre di una prigione in cui l’atleta si è già rinchiuso per la sua affermazione, nonché potente metafora di un popolo imprigionato da un regime totalitario e violentemente repressivo di ogni (pur minima) manifestazione di dissenso. Molto efficace anche la scelta di non mostrare la scena delle torture in carcere, ma solo uno schermo nero con il sonoro di questa fase odiosa. Il messaggio arriva allo spettatore con una forza straordinaria. Pregevole anche l’ellisse della esecuzione, che ci porta direttamente alla veglia funebre, limitata da un cordone di polizia ai soli parenti stretti, e negata perfino all’allenatore, che era per l’atleta più che una persona di famiglia. Eccellenti gli attori iraniani (Sia Alipour, che interpreta Arash, nato Siavash Alipour ad Ahvaz, Iran, è un attore iraniano britannico, noto per le sue interpretazioni dinamiche e per il suo impegno a favore della rappresentazione del Medio Oriente nel cinema e in televisione. Trasferitosi a Londra nel 2007, la passione precoce di Sia per il Taekwondo, coltivata dal padre artista marziale, lo ha portato a intraprendere la carriera di stuntman a 17 anni. Questa esperienza gli ha fornito una profonda comprensione del processo di realizzazione di un film. Passando alla recitazione a tempo pieno, Sia ha da allora costruito un portfolio impressionante con ruoli notevoli in: FAIR PLAY (lungometraggio, 2023, Netflix) e TEHRAN (serie, 2022, Apple TV+). Il suo lavoro fonde intensa fisicità con profondità emotiva, spesso incorporando le sue abilità nelle arti marziali. Sia si impegna ad aumentare il riconoscimento degli attori iraniani e mediorientali a livello globale, lavorando instancabilmente per aprire le porte a una maggiore rappresentanza nel settore; Mehdi Bajestani, che interpreta l’allenatore, è un acclamato attore iraniano noto per le sue interpretazioni versatili e potenti. Ha recitato in film importanti come TATAMI (2023), presentato in anteprima al Festival del cinema di Venezia, e HOLY SPIDER (2022), presentato al Festival di Cannes e al Toronto International Film Festival (TIFF). Per la sua interpretazione di Saeed in HOLY SPIDER, Bajestani ha ricevuto ampi riconoscimenti. È stato nominato come miglior attore ai German Film Awards, ai Danish Film Awards e ai Bodil Awards. Ha vinto il premio come miglior attore per lo stesso ruolo allo Stockholm Film Festival nel 2022.), i quali attori iraniani sempre di più incalzano il primato assoluto di quelli inglesi. Splendidamente diretti per l’occasione. Bella ed indispensabile la frase riportata sullo schermo ad esergo finale del film “During the years I wrestled, I never faced a cowardly opponent who played dirtly, since wrestling is an inherently honorable sport. But in the last little while, my family and I have been battling the most dishonorable opponent of all, INJUSTICE. Navid Afkary (1993-2020)”. ( “Durante gli anni in cui ho lottato, non ho mai affrontato un avversario codardo che giocava sporco, dal momento che il wrestling è uno sport intrinsecamente onorevole. Ma negli ultimi tempi, io e la mia famiglia abbiamo combattuto l’avversario più disonorevole di tutti, l’INGIUSTIZIA. Navid Afkary (1993-2020)”). Un grido forte ed alto che accende potenti riflettori a livello globale sulla strenua, eroica e pacifica resistenza del popolo iraniano alla oppressione di un regime che è lontano anni luce dallo spirito di un popolo di cultura millenaria, che meriterebbe un governo migliore. Da non perdere, e da proiettare in tutte le scuole, di ogni ordine e grado.
Valutazione sintetica: 9
APPENDICE
Festivals & Awards
60+ selections and 40+ Awards/Nominations/Mentions
-Ranked top 1% on Coverfly **Top 10 Best Drama Short Screenplay on Coverfly’s Redlist
-Vancouver Short Film Festival 2024 **Best Canadian Short Film, **Best Director Nominee presented by Directors Guild of Canada, **Best Cinematography Award, **Best Production Design Award
-Young Director Award (YDA) 2024 **Silver Screen Award
-Reykjavík International Film Festival 2024 **The Golden Egg Award
-Chelsea Film Festival 2024 **Best International Short Film
-Sundar Prize Film Festival 2024 **Best Short Film
-Woods Hole Film Festival 2024 **Best Short Screenplay
-Middlebury New Filmmakers Festival 2024 **Best Narrative Short Film
-Edmonton Short Film Festival 2024 **Best International Short Film
-Reelworld Film Festival 2024 **Outstanding Short Film, **Outstanding Short Film Producer
-Kaaffilm International Short Film Festival 2024 **WORLD GRAND PRIX – Human Rights Section presented by Amnesty Paraguay (Amnistía Internacional Paraguay)
-Amnesty international Au Cinema pour les Droits humains 2025
-Flickers’ Rhode Island International Film Festival 2024 **Roving Eye section
-SCAD Savannah Film Festival 2023
-Morehouse College Human Rights Film Festival 2024 **Best Narrative Short Film Nominee
-Zurich Film Festival 2024 **ZFF Academy Bits & Pieces
-Woods Hole Film Festival 2024 **Best Short Screenplay
-USA Film Festival 2024 **Finalist
-Nantucket Film Festival Tony Cox Short Screenplay Competition 2024 **Finalist
-San Francisco Indie Fest Screenplay Competition 2024 **Finalist
-Richmond International Film Festival (RIFF) Screenplay Competition 2024 **Finalist
-HollyShorts Screenwriting Competition 2023 **Semi-Finalist
-Los Angeles International Screenplay Awards 2023 **Semi-Finalist
-Omaha Film Festival Screenplay Competition 2024 **Semi-Finalist
-Santa Barbara International Screenplay Awards 2024 **Semi-Finalist
-Dallas International Film Festival’s Screenwriting Competition 2024 **Semi-Finalist
-Creative World Awards 2024 **Semi-Finalist
-Stage 32 Short film Contest 2024 **Quarter-Finalist
-Nashville Film Festival Screenwriting Competition 2023 **Quarter-Finalist
-ScreenCraft Short Film Screenplay Competition 2023 **Quarter-Finalist
-Vail Film Festival Screenplay Competition 2023 **Quarter-Finalist
-ScreenCraft Film Fund 2023 **Quarter-Finalist
-New York International Screenplay Awards 2024 **Quarter-Finalist
-Big Apple film Festival Screenplay Competition 2023 **Honorable Mention
-9/10 in the Raindance Script Competition 2023
-Cinema on the Bayou Film Festival 2024
-Fargo Film Festival 2024
-Sarasota Film Festival 2024
-West Chester Film Festival 2024 **Best Short Film Nominee
-Maryland International Film Festival 2024
-Arizona International Film Festival 2024
-Blue Mountain Film Festival 2024
-Richmond International Film Festival (RIFF) 2024
-Crested Butte Film Festival 2024
-Cerdanya Film Festival 2024
-Breckenridge Film Festival 2024
-Footcandle Film Festival 2024 **Best Narrative Short Film Nominee
-Ottawa Canadian Film Festival 2024
-Torino Underground Cinefest 2024
-Durham Region International Film Festival 2024
-Bordeaux Shorts Biennale 2024 **Honorable Mention
-Cindependent Film Festival 2024 **Honorable Mention
-Make News, Make Noise: Screening Room 2024 (Los Angeles, USA)
-Cuenca International Film Festival (FICC) 2024
-Festival Internacional de cine Luz del Desierto 2024
-Mind the Indie 2024
-International Film Festival The Hague 2024
-Asian World Film Festival 2024
-Nostalgia Film Festival 2024 **Semi-Finalist
-Muslim International Film Festival 2024
NOTE DI REGIA
A Good Day Will Come” è stato ispirato dalla tragica storia di Navid Afkari, un wrestler iraniano ingiustamente giustiziato nel 2020 durante un periodo di disordini diffusi e violazioni dei diritti umani in Iran. Nati a pochi mesi di distanza, Navid e io abbiamo condotto vite molto diverse dopo che mi sono trasferito in Canada, dove ho ottenuto la libertà di esprimermi, in netto contrasto con l’ambiente oppressivo a casa, dove le persone rischiano la prigione per aver sfidato lo status quo. Riconosco il mio privilegio di vivere in una società libera e sento una profonda responsabilità nell’usare la mia voce per coloro che non possono. Vedo questo progetto come un mio dovere, simile al servizio militare obbligatorio in Iran; è il mio modo di servire il mio paese da lontano. Inizialmente una narrazione diretta su Navid, il film si è evoluto per riflettere le più ampie sfide sociali affrontate dagli iraniani, incapsulando le loro lotte e la loro resilienza. La ripresa delle proteste in seguito alla morte di Mahsa Amini riafferma il desiderio globale di giustizia e dignità, temi al centro del nostro film. Avendo vissuto metà della mia vita in ogni paese, mi sento obbligato a colmare questi mondi e ad amplificare queste voci represse. Attraverso questo film, il mio obiettivo è far luce sulla resistenza e lo spirito del popolo iraniano, promuovendo empatia e comprensione tra il pubblico globale. “A Good Day Will Come” si sforza di distinguere tra il governo iraniano e il suo popolo, sostenendo i diritti umani e l’unità attraverso la narrazione.
ENGLISH VERSION OF THE REVIEW
A Good Day Will Come , review by Catello Masullo
credits : IMDB
A Good Day Will Come (2024)
Directed by
Amir Zargara |
Writing Credits (in alphabetical order )
Amir Zargara |
Cast (in credit order )
Let Alipour be | … | Arash | |
Mehdi Bajestani | … | Coach | |
Shoal Shahbazi | … | Mom | |
Moeid Zalaghi | … | Amin | |
Rest of cast listed alphabetically : | |||
Changizi Air | … | Gas Station Worker | |
Yashar Mirian | … | Assistant Coach | |
Metin Ozturk | … | Arash’s teammate |
Produced by
Scott Aharoni | … | executive producer |
Let Alipour be | … | executive producer |
Weggon Allen | … | executive producer |
Sholeh Alemi Blacksmiths | … | executive producer |
Tina Gharavi | … | executive producer |
Rouzbeh Heydar Aliyev | … | executive producer |
Fitch Jean | … | executive producer |
Asa Kazerani | … | executive producer |
Two Guys Kizgin | … | line producer |
Shiva Negar | … | executive producer |
Nicky Shobeiry | … | executive producer |
Imam Tahsin | … | producer |
Amir Zargara | … | producer |
Music by
KB |
Cinematography by
Jelan Maxwell |
Editing by
Imam Tahsin |
Casting By
Melih Degirmenci | … | supervising casting director |
Costume Design by
Ferhat Cetin |
Make-up Department
Gokhan Horzum | … | hair stylist / make-up artist |
Sultan Sabir Karagoz | … | key make-up artist |
Production Management
Fetih Ceyhun | … | production manager |
Second Unit Director or Assistant Director
Aida Davoudi | … | third assistant director |
Naciye Heralp | … | first assistant director |
Saba Mengi | … | second second assistant director |
Engine Sengün | … | second assistant director |
ArtDepartment
And Aslan | … | dresser set |
Dilan Kacanunlu | … | assistant property master |
Sound Department
Firat Bayram | … | boom operator |
Amir Mohabbat | … | sound editor / sound mixer |
Sarah Nasrabadi | … | sound mixer |
Stunts
Yashar Mirian | … | Wrestling Consultant |
Metin Ozturk | … | Wrestling Consultant |
Lauriane Rouault | … | Action Designer |
Camera and Electrical Department
Ozer Axoy | … | gaffer |
Tan Altay | … | key grip |
Serhat Ekrem Asci | … | second assistant room |
Ercan Bulut | … | Lighting Assistant |
Hakan Durukan | … | Best Boy |
Amir Mohabbat | … | first assistant room |
Tugay Topal | … | Lighting Assistant |
Erdogan Tosun | … | grip |
Costume and Wardrobe Department
Ronya Bozoglans | … | wardrobe assistant |
Navrua Daban | … | wardrobe supervisor |
Editorial Department
Imam Tahsin | … | colorist |
Script and Continuity Department
Robbie Robertson | … | script editor |
Transportation Department
Derya BozKocak | … | Camera Truck |
Additional Crew
Harun Resist Akyuz | … | production assistant |
Bahadir Cin | … | production assistant |
Arya Esfandmaz | … | Wrestling Coach to Sia Alipour |
Jay Varsani | … | Acting Coach to Sia Alipour |
review by Catello Masullo: A short film, 26 minutes long, of great intensity. Multi -selected and multi -awarded at various international film festivals (see APPENDIX , below). Written and directed by Amir Zargara , an Iranian-Canadian (BIPOC) writer/director, whose cinematic journey begins with BECOME THE WOUNDED in 2021. Since then, he has directed several short films, on which he hopes to build his film career. His films delve into the moral complexities faced by individuals, focusing on the gray areas of human character and advocating empathy over judgment. A GOOD DAY WILL COME tells a story inspired by the tragic story of Navid Afkari , an Iranian wrestler who was unjustly executed in 2020 during a period of widespread unrest and human rights abuses in Iran. In his director’s notes (see APPENDIX), Zargara writes: “I recognize my privilege to live in a free society and feel a deep responsibility to use my voice for those who cannot. I see this project as my duty, similar to compulsory military service in Iran; it is my way of serving my country from afar.”. Objective fully achieved. For the power of the story, true, and of the narration, which is of high cinematic quality. With very valid and communicative directorial choices. As for example in the initial scene of the athlete’s press conference before the world championships, when a journalist refers to the rebellions taking place in the country, which have led to several killings and references. After the coach tries to block the question, pointing out that in that place they only deal with competitive sports, the protagonist, after a moment of reflection, answers: “I am on the side of my people. I learned this from my father”. Immediately after, the camera that is taking a close-up of him moves away, and continues to film him, but the image is covered by black obstacles, which look like bars of a prison in which the athlete has already locked himself because its statement, as well as a powerful metaphor of a people imprisoned by a totalitarian regime and violently repressive of any (even minimal) manifestation of dissent. The choice not to show the scene of torture in prison, but only a black screen with the sound of this hateful phase, is also very effective. The message reaches the viewer with extraordinary force. Also commendable is the ellipse of the execution, which takes us directly to the funeral wake, limited by a police cordon to close relatives only, and denied even to the coach, who was more than a member of the family to the athlete. The Iranian actors are excellent (Sia Alipour , who plays Arash, born Siavash Alipour in Ahvaz, Iran, is an Iranian-British actor, known for his dynamic performances and his commitment to Middle Eastern representation in film and television. Having moved to London in 2007, Sia’s early passion for Taekwondo, nurtured by his martial artist father, led him to pursue a career as a stuntman at the age of 17. This experience gave him a deep understanding of the filmmaking process. Transitioning to acting full-time, Sia has since built an impressive portfolio with notable roles in: FAIR PLAY (feature film, 2023, Netflix) and TEHRAN (series, 2022, Apple TV+). His work blends intense physicality with emotional depth, often incorporating his martial arts skills. Sia is committed to increasing recognition of Iranian and Middle Eastern actors globally, working tirelessly to open the doors for greater representation in the industry ; Mehdi Bajestani , who plays the coach, is an acclaimed Iranian actor known for his versatile and powerful performances. He has starred in major films such as TATAMI (2023), which premiered at the Venice Film Festival, and HOLY SPIDER (2022), which premiered at the Cannes Film Festival and the Toronto International Film Festival (TIFF). For his portrayal of Saeed in HOLY SPIDER, Bajestani received widespread recognition. He was nominated for Best Actor at the German Film Awards, the Danish Film Awards and the Bodil Awards. He won the Best Actor Award for the same role at the Stockholm Film Festival in 2022.), which Iranian actors are increasingly chasing the absolute primacy of the English ones. Beautifully directed for the occasion. The phrase reported on the screen as a final epigraph of the film is beautiful and indispensable: “ During the years I wrestled , I never faced cowardly opponent who played dirtyly , since wrestling is an inherently honorable sport. But in the last little while , my family and I have been battling the most dishonorable opponent of all, INJUSTICE. Navid Afkary (1993-2020)”. A loud and clear cry that shines a powerful global spotlight on the Iranian people’s strenuous, heroic and peaceful resistance to the oppression of a regime that is light years away from the spirit of a people with a millenary culture, who deserve a better government. Not to be missed, and to be shown in all schools, of all levels.
Summary rating: 9 (on a scale of 10)
APPENDIX
Festivals & Awards
60+ selections and 40+ Awards/Nominations/Mentions
– Ranked top 1% on Coverfly **Top 10 Best Drama Short Screenplay on Coverfly’s Redlist
-Vancouver Short Film Festival 2024 **Best Canadian Short Film, **Best Director Nominees presented by Directors Guild of Canada, **Best Cinematography Award , **Best Production Design Award
-Young Director Award (YDA) 2024 **Silver Screen Award
-Reykjavík International Film Festival 2024 **The Golden Egg Award
-Chelsea Film Festival 2024 **Best International Short Film
-Sundar Prize Film Festival 2024 **Best Short Film
-Woods Hole Film Festival 2024 **Best Short Screenplay
-Middlebury New Filmmakers Festival 2024 **Best Narrative Short Film
-Edmonton Short Film Festival 2024 **Best International Short Film
– Reelworld Film Festival 2024 ** Outstanding Short Film, ** Outstanding Short Film Producer
– Kaaffilm International Short Film Festival 2024 **WORLD GRAND PRIX – Human Rights Section presented by Amnesty Paraguay ( Amnistía Internacional Paraguay)
-Amnesty international Au Cinema pour les Droits humains 2025
-Flickers’ Rhode Island International Film Festival 2024 ** Roving Eye section
-SCAD Savannah Film Festival 2023- Morehouse College Human Rights Film Festival 2024 **Best Narrative Short Film Nominee
-Zurich Film Festival 2024 **ZFF Academy Bits & Pieces
-Woods Hole Film Festival 2024 **Best Short Screenplay
-USA Film Festival 2024 ** Finalist
-Nantucket Film Festival Tony Cox Short Screenplay Competition 2024 ** Finalist
-San Francisco Indie Fest Screenplay Competition 2024 ** Finalist
-Richmond International Film Festival (RIFF) Screenplay Competition 2024 ** Finalist
– HollyShorts Screenwriting Competition 2023 **Semi- Finalist
-Los Angeles International Screenplay Awards 2023 **Semi- Finalist
-Omaha Film Festival Screenplay Competition 2024 **Semi- Finalist
-Santa Barbara International Screenplay Awards 2024 **Semi- Finalist
-Dallas International Film Festival’s Screenwriting Competition 2024 **Semi- Finalist
-Creative World Awards 2024 **Semi- Finalist
-Stage 32 Short film Contest 2024 **Quarter- Finalist
-Nashville Film Festival Screenwriting Competition 2023 **Quarter- Finalist
– ScreenCraft Short Film Screenplay Competition 2023 **Quarter- Finalist
– Vail Film Festival Screenplay Competition 2023 **Quarter- Finalist
– ScreenCraft Film Fund 2023 **Quarter- Finalist
-New York International Screenplay Awards 2024 **Quarter- Finalist
-Big Apple film Festival Screenplay Competition 2023 **Honorable Mention
-9/10 in the Raindance Script Competition 2023
– Cinema on the Bayou Film Festival 2024
-Fargo Film Festival 2024-Sarasota Film Festival 2024-West Chester Film Festival 2024 **Best Short Film Nominee
-Maryland International Film Festival 2024 – Arizona International Film Festival 2024 – Blue Mountain Film Festival 2024
-Richmond International Film Festival (RIFF) 2024- Crested Butte Film Festival 2024
– Cerdanya Film Festival 2024
– Breckenridge Film Festival 2024
– Footcandle Film Festival 2024 **Best Narrative Short Film Nominee
-Ottawa Canadian Film Festival 2024-Torino Underground Cinefest 2024
-Durham Region International Film Festival 2024
-Bordeaux Shorts Biennial 2024 **Honorable Mention
– Independent Film Festival 2024 **Honorable Mention
– Make News, Make Noise: Screening Room 2024 (Los Angeles, USA)
-Cuenca International Film Festival (FICC) 2024
-International Film Festival Light of the Desierto 2024
– Mind the Indie 2024
-International Film Festival The Hague 2024-Asian World Film Festival 2024- Nostalgia Film Festival 2024 **Semi- Finalist
– Muslim International Film Festival 2024
DIRECTOR’S NOTES
“A Good Day Will Come” was inspired by the tragic story of Navid Afkari , an Iranian wrestler who was unjustly executed in 2020 during a period of widespread unrest and human rights abuses in Iran. Born just months apart, Navid and I have led very different lives since I moved to Canada, where I gained the freedom to express myself, in stark contrast to the oppressive environment back home, where people risk prison for challenging the status quo. I recognize my privilege to live in a free society and feel a deep responsibility to use my voice for those who cannot. I see this project as my duty, similar to mandatory military service in Iran; it is my way of serving my country from afar. Initially a direct narrative about Navid , the film has evolved to reflect the broader social challenges faced by Iranians, encapsulating their struggles and resilience. The resurgence of protests following Mahsa Amini’s death reaffirms the global desire for justice and dignity, themes at the heart of our film. Having lived half my life in each country, I feel compelled to bridge these worlds and amplify these repressed voices. Through this film, my goal is to shine a light on the resistance and spirit of the Iranian people, fostering empathy and understanding among global audiences. “A Good Day Will Come” strives to distinguish between the Iranian government and its people, advocating for human rights and unity through storytelling.