It's a Good Day To Die

© Catherine Kohler


direction Kamal Hashemi
text Jamal Hashemi

with Shiva Falahi and Pantea Panahiha

director’s assistant and production manager Mohammad Khaksari
light creation Amin Reza Bagheri
sound creation and sound manager Ankido Darash
video creation and video manager Amin Reza Bagheri
costumes Atoosa Ghalamfarsaie

french translation and supertitles adaptation Massoumeh Lahidji

running time 60 minutes

Production, administration, promotion Pierre Reis
Coproduction et résidence La Filature – Scène nationale Coproduction BOZAR, Centre for Fine Arts Brussels Spectacle présenté avec le soutien de l’ONDA (Office national de diffusion artistique)



Yalda’s house has crashed down. She is stuck under the debris and imagines scenes of a movie which she has shot before in her house.

Mona who, with the outbreak of the Iran-Iraq war has emigrated with her family from her city of birth, is now admitted to a university in Tehran at the age of 43 and has to move again. She rents a room in Yalda’s home and moves in with her.

Yalda, 33 years old, is a moviemaker who has never finished a film and her house is her family inheritance. She is making a filmic autobiography and upon her arrival, Mona too becomes a part of this movie. During the time that Mona and Yalda are flat mates, signs of the house’s gradual wearing down appear. This creates a dilemma for them between staying in the house and leaving it. Mona finally decides to leave the house, whereas Yalda refuses to do so because she wants to retain her childhood memories which are tangled with the house.

The house finally collapses, Yalda remains under the debris and dies. The play’s present time is only minutes before Yalda’s death, which is brought about in the end. Before dying, Yalda imagines the images which she has shot for the making of her movie. These images depict a house which now lays in ruins. The images contain Yalda’s dialogues with Mona, her monologues with the camera and recordings of different parts of the house. All these images are imagined as Yalda’s eyes under the debris are still open. When she closes her eyes, she returns to her current situation. As if the arrangement of the film’s narrative happened with the opening and closing of her eyes. The final scenes of the movie are accompanied by Yalda’s death under the debris.


> Les Vagamondes – La Filature, Scène nationale de Mulhouse // January 23rd to 26th, 2018

Residency and creation on January 2018 at La Filature, Scène nationale de Mulhouse – France

> Production, administration and promotion