One Good Day

After the Woman, Life, Freedom movement, amid ongoing protests and stronger cultural control in Iran, a theatre collective boycotts official stages and chooses improvisation. They are stuck in a situation where they do not know whether they should perform at all, and if they do, how. For them, even underground theatre with a written text feels like another frame. So they make a collective decision: enough is enough. They stop performing written texts, refuse to accept compulsory hijab, and reject the cycle of censorship. Improvisation is not only a theatre method for them. It becomes a new form of artistic freedom and a way to survive under constant pressure.

The film moves between two worlds. The outside world is shaped by laws, repression, a damaged economy, and everyday violence. The inside world is the refuge they build through rehearsals, and a shared “we” that grows against the outside. One Good Day is a hybrid documentary that moves constantly between observational reality and spontaneous performance. I follow the group’s journey and their everyday life together. But in the middle of real situations, improvisations suddenly begin, without warning to the audience. The film will not explain exactly when reality ends and performance begins. The audience will gradually lose certainty about what is spontaneous, what is being performed, and whether there is still a meaningful distinction between the two.

This uncertainty is central to the film: can theatre help them escape reality, or does it allow reality to return in another form? By performing their fears, losses, and unlived possibilities, can they discover different versions of themselves?