Qualifying for the 2025 Oscars, Amir Zargara’s short “A Good Day Will Come” is both heartbreaking and necessary. It’s inspired by real events related to Iranian wrestler Navid Afkari, put to death for crimes he did not commit in the 2018 Iranian protests. As such, “A Good Day Will Come” is a testament to the human spirit, and of trying to do the right thing in impossible situations. At 25 minutes, it feels—and watches—less like a film and more like a documentary. It brings to light the tempestuous climate of Iran during this time period, the regular lives and dreams of its citizens, and those who sought to fight an unequal system.
Zargara’s film is not a documentary—however much it sometimes feels like one—but a moment in time. It focuses its story on Arash Jafari, played sublimely by Sia Alipour. Arash is practicing wrestling takedowns at the film’s opening. His coach (Mehdi Bajestani) watches and critiques from the sidelines. “It’s a good move,” he’ll say. “You just need to do it faster.” Whether the coach’s words are wrestling advice or a premonition of the future is up to interpretation. But at practice’s conclusion, Arash and colleagues watch political protests and their ensuing violence play live on their mobile phone. The events seem inescapably real.
Immersive and Powerful
What’s powerful about Zargara’s film is how it immerses you into a climate you may not understand, yet accept readily. Arash and his friends and family see the protests—over inflation, poverty, hardships—as not something to gloss over, but real concerns. Zargara lets you know there are real stakes here, and people on both sides. Deadly protests are usually something of an outlier in the United States, my home country; but other locales are not so lucky. In this way, I feel “A Good Day Will Come” is both important critique, and a call for empathy. The lives of people in Iran are often little more than news items that pass us by. Yet when Zargara’s short concludes—with a powerful, lingering shot—we feel a common bond with the human condition and a moment of solemnity.
Alipour imbues all the right notes into Arash, and the few scenes he has with his mother and brother (Shoale Shahbazi, Moeid Zalaghi) are bright yet solemn. Home cooked breakfasts with hot tea and love are overshadowed by news of the protests and the death of an off-screen relative, Mitra. And all the while, the cinematography of Jelan Maxwell mixes the sun-filled landscape of Iran with a dolor and dread that’s palpable. Arash focuses on his wrestling competition: he has sights on the national gold, and then international. His father was a revered wrestler who gave his life for his people. Arash continues to tell journalists he’s “with the people.” And we don’t doubt he is. Alipour makes us believes his desire to help his countrymen, even if he has nothing more to offer than words.
A Giant Call for Empathy
What’s stark about “A Good Day Will Come” is its messaging. Arash’s coach implores him to “not get messed up” in the protests… regimes change, but greed stays the same. On the one hand, the coach’s words ring true: focusing on what’s important—what’s right in front of you—is often the safer bet. And why can’t Arash have what he wants… a wrestling career and a family who supports him? The death of Mitra likely spurs him into action; but for a man who focuses on a strength-based sport for his career, we soon see that words, and sometimes silence, is what drives Arash. He has much to be angry about, but isn’t. He tries to keep his cool. However, as a result the underpinnings of a leader starts to emerge, which his enemies are quick to take note of. Violence they can handle, but nonviolence confuses them. It’s a move Arash pays the price for, when avoiding violence—while helping the people—was his goal all along.
But in this, Zargara has made a film that makes you think. The filmmaker has stated his awareness of his privilege of living in a free society (he hails from Canada), and wishes to advocate for those who don’t. Events such as happened to Navid Afkari are foreign to us—aside from some very public figures who were assassinated—but for people living in this film’s conditions, they are unfortunately common.
Solemn Yet Hopeful
“A Good Day Will Come” lets us feel what it’s like to live a life—to have goals, dreams, and aspirations—under the threat of looming violence. It’s somber and bittersweet. The film’s closing shots can be viewed cyclicly or can be viewed anew. Arash’s family will go on. But will future generations fulfill their dreams, or become casualties in a war they didn’t start and can’t control? The film lets us understand what that feels like, close our eyes solemnly for Arash, while still hoping, softly, for the best. Its crowning achievement is not a call to arms, but empathy. More films should be so succinct and imperative in their messaging.
“A Good Day Will Come” has qualified for the 2025 Oscars long list. The film is currently on the festival circuit worldwide. Follow The Movie Buff for Oscar shortlist announcements. You can watch the film’s trailer in the window below.
