A Good Day Will Come
Kambiz, a young Iranian wrestler, grows up idolizing his father Cyrus, a revered athlete who chose integrity over Olympic gold before vanishing in the Iran-Iraq war. Years later, Kambiz pursues his own Olympic dream under that legacy, guided by his pragmatic uncle Mansour. As repression intensifies and protests spread, Kambiz tries to stay focused while his younger brother Bardia is drawn into activism. When Bardia is killed and Kambiz’s former love is gravely injured, silence becomes impossible. He joins the resistance, becoming a symbol and a target. Then Cyrus returns after decades in prison, forcing father and son to confront sacrifice and honor.
Director's note
A GOOD DAY WILL COME was born from the heartbreaking story of Navid Afkari, an Iranian wrestler unjustly executed in 2020. His fate reflects Iran’s recent history, marked by hardship, corruption, and human rights abuses.
Like Navid, I grew up in southern Iran. My father studied Civil Engineering in the United States and returned during the war to rebuild our hometown, much like the father in the film. I drew from early memories, including wrestling with my dad before bedtime, and wove traditions such as Muharram and Sizdah Bedar into the story. Persian mythology, Shia rituals, and Iranian history shape the film’s emotional foundation.
My aim is to cultivate empathy through nuanced storytelling. Rather than sensationalizing unrest, I focus on people torn between conviction, family, survival, and authoritarian power. Echoing the grounded social realism of A SEPARATION and FOXCATCHER, I use intimate camerawork and a muted palette to convey life under surveillance while honouring the quiet resilience of ordinary Iranians.
As a filmmaker in Canada who lives with a stutter, I understand the burden of speaking when every syllable is hard won. Many Iranian storytellers remain silenced by censorship and imprisonment. Living abroad gives me both the privilege and responsibility to raise the voices they cannot. For me, filmmaking is also a form of service: not to any regime, but to the people, culture, and memories that shaped me.
What began as an intimate drama has become a broader portrait of a society struggling for dignity and self-determination. In the shadow of war, repression, and ongoing executions, its questions feel urgent.
Having spent half my life in Iran and half in Canada, I feel compelled to bridge these worlds. I hope this film reminds audiences that the Iranian people are distinct from the regime that oppresses them, and that even in the darkest moments, change is still possible.
Producer's note
As an Iranian-Canadian producer, I feel a deep responsibility to bring complex Iranian stories to the screen with honesty, care, and cultural specificity. A GOOD DAY WILL COME resonated with me immediately. Inspired by the unjust execution of wrestler Navid Afkari, Amir Zargara has crafted a powerful film about family, honour, and moral courage under oppression. Having collaborated with Amir on several shorts, I have witnessed his distinct voice and sensitivity, and I am excited to help bring his first feature to the screen.
Our strategy is built around a meaningful international co-production. The project has received support from Telefilm Canada and Ontario Creates and recognition through Berlinale, TIFF, and Busan. With France attached, we are structuring it as a Canada-Europe co-production while pursuing Asian and MENA financing, including pending support from the Red Sea Fund.
Because the story takes place in Iran but cannot be safely shot there, our financing and production plans are linked. We are exploring Turkey and Greece to double for Iran, with regional partners supporting locations, crew, casting, and cultural knowledge. Our goal is to protect authenticity while making the film safely, responsibly, and at strong production value.
The film has clear audience entry points: the Iranian diaspora, human rights-focused viewers, political drama audiences, and wrestling/sports communities. For Iranian and Middle Eastern audiences, it offers a specific portrayal of repression and moral pressure. For arthouse audiences, it continues the tradition of politically charged Iranian cinema while functioning as a sports thriller.
Our outreach will combine festival positioning, targeted press, digital campaigns, and partnerships with diaspora groups, cultural centres, universities, wrestling clubs, and sports communities. Ultimately, we aim to build A GOOD DAY WILL COME as both a prestige international drama and an urgent story with cultural, athletic entry points.