Soghra Obeisi

Soghra Obeisi, born in 1951 in the lush, rainy city of Lahijan, Gilan, has been a steady name in Iranian cinema for decades. She’s not one of those stars who chase the spotlight—nah, she’s more like the backbone, the kind of actress who carries a scene without making a fuss. People remember her for roles in films like “Beed-e majnoon” (2005), where she navigates heartbreak and hope with this raw honesty that just grabs you. Then there’s “Vakonesh panjom” (2003)—that one’s a wild ride, and her character is right at the center, holding everything together when it feels like the world’s about to fall apart. And don’t sleep on “Pol” from way back in 1971. Even early on, you could see she had that spark, something real that set her apart from the crowd. Growing up in Gilan, surrounded by tea fields and the smell of the Caspian, probably shaped her grounded, earthy vibe. She’s not about the glam or the glitz, and you never catch her overacting—she just feels real, like someone you could actually know. Her performances are layered. Sometimes she’ll break your heart, sometimes she’ll make you laugh, but it’s never forced. She tends to play mothers, teachers, or women shouldering heavy stuff, and she gives them all this quiet strength. If you dig Iranian cinema, you’ve definitely caught her in something, even if you didn’t realize it—she’s one of those faces that just sticks with you.