SAEDNEWS: In a revealing interview, Mohammad Saeed Farazmand—the actor behind “Suran” in the Kurdish‑tinged drama Nariya—opens up about his deep‑rooted antipathy toward Israel, the challenges of mastering the Sorani dialect, and the uncanny timing of his show’s finale against fresh Israeli crimes.
According to Saed News, Mohammad Saeed Farazmand—an accomplished theatre director, writer and television presenter—was drawn to Nariya by his familiarity with Kurdish language and culture. “Although a trained thespian can learn any accent with practice,” he explained, “my knowledge of Kurdish made the role of Suran infinitely more authentic.” To ensure linguistic accuracy, the production enlisted a Sorani Kurdish expert, guiding the cast through one of the region’s most demanding dialects.
Long before stepping onto the Nariya set, Farazmand says his abhorrence of the Israeli regime was ingrained. “I have hated this regime for years,” he confessed. “It has no independent identity—wherever it wills, it bombs with impunity.” He recalled the eerie synchronicity: “The finale aired just as new atrocities were being committed against our country. It was surreal.”
Reflecting on public reaction, Farazmand invoked writer Shahrukh Maskub: “My bond with my homeland is like that with my mother—no matter our grievances, I always return to her embrace.” He lauded the national solidarity that followed the latest aggression and urged Iranians to preserve that unity beyond this moment.
Farazmand’s résumé extends beyond acting: he has hosted TV programs on Channel 4’s Book Fair special and sports broadcasts, and his theatre work has won national accolades. As for Suran, he describes the character as “impetuous yet principled, guided by family honor.” The role’s popularity has followed him off‑screen, where fans now greet him by Suran’s name and inquire about the show’s unresolved tensions.
In Farazmand’s view, Nariya’s resonance lies not only in its narrative but in its capacity to reflect real‑world struggles—and to remind audiences that art and politics often collide in unexpected, profound ways.
