The Persian movie Jashne Deltangi, Gloomy Celebration in English, is a movie directed by Pourya Azarbayjani depicting Iranian liquid life in recent years. In Jashne Deltangi’s lifeworld, Iranians’ quotidian life changes frequently, as if they are immigrating incessantly within their own social world. These frequent transformations in characters’ daily life can be understood and analyzed according to Zygmunt Bauman’s ideas about liquid modernity. Consequently, for analysing the movie’s lifeworld, Bauman’s ideas about the formation of identities and socio-interpersonal relationships are formulized at first and, then, used for its sociological analysis. Hence cinema is a robust sphere for representing people’s daily life, critical look at the social life of a movie’s characters and their relationships can enhance our understanding of the lifeworld from which the movie is emanated. Accordingly, in this article the Iranians’ experience of daily life under the conditions of liquid modernity it is tried to be interpreted based on the liquid lifeworld of Jashne Deltangi. This interpretation at last shows that Bauman’s ideas about the security/freedom duality and the concept of open time/space in liquid modernity are coherent with Jashne Geltangi’s lifeworld. From this perspective, a critical look is taken on the liquidity of Iranians’ today’s quotidian life.