"What do you think? Is she his wife?"

"No, no man is so happy enjoying the company of his wife."

We may take "Ms. Yaya" as a symbol of something ; perhabs a symbol of a government in the sense that it gives the people lots of rose garden promises, all of which absurd and imaginary, and it never keeps them. But there is not much hints witnessing this hidden and implied meaning in "Ms. Yaya".



"Ms. Yaya" is Abdolreza Kahani's last feature. He directed and filmed "Adam" in 2006 in a village in his city of birth Neyshabur but the movie never received screening permission.

After Adam, he made "Over There", another one of his unreleased movies that was first screened together With "Twenty", a good and influential film with Parviz Parastooi and Mahtab Keramati in major roles.

After "Twenty", he made "Nothing", a very different movie that brought him success. After that, he made "Absolutely Tame As a Horse"; a good, well-constructed film, different and full of hidden Kahanian subtleties. Then came " By No Reason", which, despite nearly twenty minutes of censorship, was released and attracted the attention of the audience.

"We have time now" but not allowed to be released in 2013. Then "Absolute Rest" was played with the song "Alidousti" in 2014, after which he made "from every ordinary point" that there is not much information about it, but again his various pieces, "Sincerely, Nazanin, Spring and Tina" It was not allowed to show up until finally. "We love you, Mrs. Yaya", came to the end with the short name "Ms. Yaya".

As a result of the difficulties he faced over the release of his movie By No Reason, Kahani finally left Iran for France and, in 2014, directed the movie "We Have Time" there.

"We've got time" has already been screened at the Karlovy Vary International Film Festival. Following the movie’s production, Kahani returned to Iran and filmed his latest movie "Absolute Rest", which features some of Iran’s most well-acclaimed actors.

As one might assume, Kahani’s other movies have also encountered many difficulties, the most important of which has not been obtaining screening permits. In the period of five years, five of Kahani’s screenplays were not received screening permission and he has thus written alternative screenplays instead.