The Year’s Controversial Masterpiece: “Oh, What Happy Days!”; Homayoun Ghanizadeh’s Unprecedented Narrative of the Revolution via Video Call Format

The Year’s Controversial Masterpiece: “Oh, What Happy Days!”; Homayoun Ghanizadeh’s Unprecedented Narrative of the Revolution via Video Call Format

Part 1: The Birth of a Cinematic Event and the Alliance of Global Stars

Homayoun Ghanizadeh, the unconventional Iranian film director and creator of deconstructive works in theater and cinema like A Hairy Tale, has captured attention with his ambitious new project, “Oh, What Happy Days!” (or Oh, What Happy Days it Was!). The film, a co-production between Iran, the US, France, and Canada, immediately established itself as one of the year’s most significant films following its announcement in the competition section of the Tallinn Black Nights International Film Festival

The undeniable strength of this work lies in its golden and historical ensemble cast featuring actors from both inside and outside the country

• Ali Nassirian
• Peyman Maadi
• Navid Mohammadzadeh
• Golshifteh Farahani
• Shirin Neshat (Special Appearance)

Part 2: Innovative Structure; Disruption in Virtual Frames

The film’s teaser confirms Ghanizadeh’s daring use of an innovative format: the story unfolds through a series of high-tension dialogues and video calls between the characters

Formal Analysis: “The use of this digital and fragmented structure best demonstrates the geographical, temporal, and emotional rifts within families scattered across the globe after the 1979 Revolution. Initial calm quickly gives way to anger, shouting, and the revelation of buried historical secrets

Role Analysis: Bridges of Historical Disjunction and Visual Symbolism

• Ali Nassirian (The Master): Likely plays the first-generation figure, the main party involved or victim of the “confiscated mansion” issue, symbolizing fading memory from the pre-Revolution era
• Golshifteh Farahani (The International): Represents the second or third generation of exiled families; the voice of exile and the struggle to reclaim lost identity or property
• Peyman Maadi & Navid Mohammadzadeh (The Contemporary): Likely embody the conflict and anger of the current generation; one perhaps dealing with documentation inside the country, and the other possibly a diaspora figure with a contradictory and aggressive narrative
• Shirin Neshat (Special Appearance): Given her background as a major visual artist, her role may transcend conventional acting. She will likely appear as a symbolic figure, a philosophical narrator, or a silent witness, adding an artistic and documentary dimension to the narrative

Part 3: The Narrative of Embers Under Ashes; The Legacy of Revolution and Exile

The main theme of “Oh, What Happy Days!” revisits the social and political legacy and consequences of the 1979 Revolution. The central plot symbolically raises this issue

A valuable mansion has been confiscated by its former janitor. Now, after the janitor’s death, his son is forced to search for the original owners abroad to finalize documents and rectify the situation

This plot device serves as a strong pretext for revisiting historical memory, re-examining the concepts of “ownership” and “confiscation” after the Revolution, and confronting the repercussions of exile and migration. Through this approach, the film reflects the impact of decades of swallowed silence on the relationships of current generations

 Final Conclusion: Beyond a Film; Awaiting Critique and Debate

“Oh, What Happy Days!” represents a major and necessary risk for Iranian cinema. By bringing together a stellar international cast and adopting a radically innovative form and bold content, Homayoun Ghanizadeh has issued a powerful artistic and political statement

This work, which has garnered attention from international festivals, is likely to become one of the most controversial, influential, and enduring works in the history of Iranian co-productions, marking a turning point in Ghanizadeh’s career

For more analyses on films and series, as well as news about foreign and Iranian festivals, please visit the website www.iimdb.ir/en