Private Project

Hand it to Pari

Everything is ready for Mr. Mohammadi to peacefully and painlessly commit suicide. But first he needs to wait for 40 minutes!

  • Amir Jalali
    Director
    Residents of the last floor, Recovery
  • Amir Jalali
    Writer
    Residents of the last floor, Recovery
  • Amir Jalali
    Producer
    Residents of the last floor, Recovery
  • Reza Sheikh Ansari
    Key Cast
  • Project Type:
    Short
  • Runtime:
    20 minutes
  • Completion Date:
    September 2, 2021
  • Production Budget:
    5,000 USD
  • Country of Origin:
    Iran, Islamic Republic of
  • Country of Filming:
    Iran, Islamic Republic of
  • Language:
    Persian
  • Shooting Format:
    Digital
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - Amir Jalali

Amir Jalali was born in 1979 in Yazd, Iran. He’s a photographer, writer, actor and a filmmaker. He started his professional career in cinema and photography in 2003 since graduation from Iranian young cinema society. He has a diploma in photography and holds a B.A in cinema with tendency in editing. His activities in photography involves holding six individual and collective photo galleries and he’s worked as a still photographer for 11 feature films and more than 20 short and documentary films.
“Hand it to Pari” is Amir Jalali’s forth film after “Narges”, “Residents of the last floor” and “Recovery”.

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Director Statement

After countless sessions interviewing multiple psychiatrists, who had dealt with suicidal patients, through some connections (and a bit of misdemeanor), I managed to smuggle into the suicidal ward of an asylum in Yazd, Iran and spend hours talking about suffering, death, pain, life, and meaning with those who had come close to death — many of whom had not given up on suicide.
After all, a bit of hope is essential to any suicide — a faint hope that things will get better with one's death. And, I too had this misguided hope that by researching those with suicidal thoughts, I can somehow explain my own death drive.
Little did I know that some forms of knowledge are not acquired — they can only be lived. That is why I decided to only narrate in my film one's experience and refrain from taking a position. To sit back, much like my audience, and witness my character and his reactions to glimpses of life. To give him a chance and wish him well.
I have no idea what has happened to my character since, but after shooting the film, I have a vivid feeling of being saved — a feeling of rebirth!