Aziz Ansari, known for his role in “Parks and Recreation,” is launching his debut as a film director with “GOOD FORTUNE,” a comedy set to premiere exclusively in theaters. The story centers on Arj, portrayed by Ansari, a man juggling multiple low-wage jobs and living out of his vehicle until a celestial intervention changes his path. Gabriel, a junior angel played by Keanu Reeves, exceeds his authority by exchanging Arj’s life with that of a wealthy tech entrepreneur, played by Seth Rogen. While the narrative maintains a lighthearted and uplifting tone, it also explores systemic economic divides and the challenges faced by those on the lower end of the financial spectrum.
In an interview ahead of the release, Ansari reflected on how he approached the film’s conclusion, especially given the unresolved nature of real-world inequality. He dismissed ending on a pessimistic note, saying it wouldn’t align with the spirit of the project. He also avoided a cyclical resolution where nothing changes, wanting instead to evoke the emotional resonance found in classic Italian neorealist films like “Nights of Cabiria” and “Umberto D.” Those films, though grounded in hardship, conclude with moments of human resilience and joy—something Ansari aimed to capture.
To ensure authenticity, Ansari conducted extensive interviews with individuals facing economic instability. One such conversation involved a worker who attempted to unionize a large retail store, a storyline mirrored in Keke Palmer’s character. Ansari emphasized the importance of portraying these experiences accurately, noting his fear of alienating audiences who live these realities.
The casting of Keanu Reeves was a deliberate choice. Ansari wanted to reintroduce Reeves to comedy, drawn to his unique presence and perceived wisdom. He joked that Reeves seems ageless, even suggesting he wouldn’t be surprised if the actor were centuries old. Reeves’ prior experience playing the Buddha influenced the perception of serenity that fit the character of Gabriel. His ability to convey innocence and humor also made him ideal for the role.
For aspiring filmmakers, Ansari offered straightforward guidance: begin by gaining hands-on experience on sets and immerse oneself in cinema by watching a broad range of films. He observed that influential directors share a deep knowledge of film history, which he describes as essential to creative growth. Strong writing, he added, is foundational—since every production starts with a script.
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Q&A: Aziz Ansari talks new movie, economic inequality, Keanu Reeves casting
Aziz Ansari from “Parks and Recreation” is debuting his first directional feature film, “GOOD FORTUNE,” releasing exclusively in theaters on Friday. The theatrical comedy follows Arj (Ansari), who works several low-paying jobs and lives in his car until an angel named Gabriel (Keanu Reeves) intervenes. Gabriel, a lower-level angel, oversteps his duties and swaps Arj’s life with the life of a rich tech investor (Seth Rogen). While the film maintains a comedic, feel-good tone, it also tackles class disparities. n nThe Daily Texan sat down with Ansari to discuss the film before its release. n nThe Daily Texan: (The film) addresses class disparities pretty front-on. … So how did you approach putting together an ending for a movie that doesn’t yet have a real-life resolution? n nAdvertisement n nAziz Ansari: You can either end with something bleak. Like, you can end with, ‘Oh, is this never gonna get better?’ … This didn’t feel like the moment to do something like that, and it didn’t feel like this movie. Another thing you can do is like, ‘Oh, it’s just kind of circular. You’re just kind of back where you started.’ It didn’t feel like (I) wanted to do that. And then, there’s a couple of Italian movies, “Nights of Cabiria” and “Umberto D.” They’re Italian neorealist movies that are about these same issues: people really struggling. And they really end on these beautiful moments of a joy for life. … Those kinds of endings, shooting for something that felt uplifting (and hopeful), felt like what I should go for. n nDT: I’ve read about the research process that went into being able to make this type of movie. … Can you talk a little bit more about what you learned? n nAA: They’re sensitive topics, so I wanted to make sure I was getting it right. So I interviewed a lot of people. … Keke (Palmer’s) character is working at a Home Depot-type store, and she’s trying to unionize the store. There was a guy that I interviewed that tried to unionize his Home Depot, and his whole story of what made him start that journey was so fascinating. … The nightmare is, you make something about this kind of stuff, and someone that’s really dealing with it rolls their eyes at it. n nDT: Why Keanu (as Gabriel)? Because when I think of him, I think more of his action films. n nAA: It felt kind of cool to bring him back into comedy. … He has this kind of mythical quality to him. I’ve said it a couple times –– if someone told me Keanu is, like, 3,000 years old, (it would) kind of make sense. There’s something about him. There’s this wisdom about him. He’s talked to me before about (how) he played Buddha in some movie, and I think that had an effect on him. That’s why he kind of felt right. … and he’s really funny, playing the naivete that I wanted Gabriel to have. n nDT: What advice do you have for students who are trying to break into the film industry? n nAA: Just start. Just try to get on a set or whatever, and just try to learn what you can from actually doing. Also, just watch as many films as you can. Something I realized when I decided to become a director was I looked at my favorite directors. … The thing all these people have in common is they’ve seen every movie. … Clearly, there’s something to this, being so ‘film literate.’ n nThose would be two great places to start — and get really good at writing because it all starts with a script.