Best Iranian Actresses of All Time

When discussing the Best Iranian Actresses of All Time, it is essential to recognize the rich heritage and talent that have shaped Iranian cinema.

In exploring the Best Iranian Actresses of All Time, one must acknowledge the contributions of these artists to Iranian cinema.

Iranian cinema reflects the nation’s complex political landscape. The 1990s and early 2000s offered a fertile ground for artistic growth, rooted in the late 1980s. Despite restrictions limiting women’s roles, this era produced remarkable female talent.

The actresses listed here, primarily from post-revolution cinema, delivered their finest work during this period. Yet, systemic constraints often stifled their full potential, with some talents sidelined entirely. These resilient women starred in some of Iran’s greatest films, cementing their legacy in the country’s cultural history—a legacy that remains cinema’s greatest asset today.

Best Iranian Actresses of All Time

As we dive into the narratives, Sussan Taslimi stands as a prominent figure among the Best Iranian Actresses of All Time, with a career that resonates through the ages.

Sussan Taslimi is undeniably among the Best Iranian Actresses of All Time, having left an indelible mark on the industry.

1. Sussan Taslimi

In an alternate reality, Sussan Taslimi might rank among the top 100 actresses in global cinema history. She is Iran’s greatest acting regret, not just among women. Her early departure from Iran’s film industry created a mythic aura, but her few 1980s films already established her as a legend.

A theater-trained actress, Taslimi brought a unique acting style and persona to cinema, influencing countless performers, though none replicated her. Her collaborations with Bahram Beyzaie alone showcase her brilliance and impact. Films like Cherike-ye Tara (which complicated her career), Bashu, the Little Stranger, and Maybe Some Other Time owe their soul to her. She embodied the mythic female archetype Beyzaie envisioned.

In Tavalod (The Spell), directed by her husband Dariush Farhang, Taslimi crafted one of Iranian cinema’s most distinctive and enduring female characters. Her ability to merge with roles—despite theatrical exaggeration—was unparalleled.

From battling stormy seas with a sword to blending with nature, she was a force. Her brief presence in Iran’s performing arts, starting pre-revolution, yielded some of cinema’s finest works, but her short-lived career leaves only regret.

Best Performances:

• Bashu, the Little Stranger
• The Spell
• Cherike-ye Tara
• Madian
• Death of Yazdgerd

2. Golchehreh Sajjadieh

Born in 1954 in Arak, Golchehreh Sajjadieh graduated from Tehran’s Faculty of Fine Arts in theater in 1977. She began acting at 20, debuting on stage with Jafar Khan az Farang Bargashteh, directed by Kamran Fazl. Her first film role came at 23 in Bahram Beyzaie’s Crow, starring Parvaneh Massoumi.

This was her only pre-revolution film. Post-revolution, she debuted in 1980 with Moj-e Tufan by Manouchehr Ahmadi, but her serious cinematic career began seven years later, alongside television and stage work.

Her breakthrough came with the lead role in Davood Mirbagheri’s 1989 TV series Ra’na, a political romance that became a television classic. That same year, she began collaborating with Masoud Kimiai, starring in The Sergeant, Snake’s Fang, and The Wolf’s Trail—all standout performances.

Kimiai tapped into Sajjadieh’s blend of innocence and strength, making her as commanding as his male protagonists. Recall her “Hello, Reza” in The Wolf’s Trail or her fierce defense of a war veteran in The Sergeant.

Golchehreh Sajjadieh’s story is also crucial when acknowledging the Best Iranian Actresses of All Time, showcasing her contributions to the art form.

Sajjadieh won the Best Actress award at the 15th Fajr Film Festival for Land of the Sun by Ahmadreza Darvish, not a Kimiai film. Her role in Rasoul Mollagholipour’s Heyva, a lesser-seen war romance, reaffirmed her prowess as a powerful, loving woman. However, after Heyva, her screen presence dwindled. By the 2000s, as Iranian cinema favored younger stars, her roles diminished. A notable return in 2007’s Highway by Siavash Asadi proved her enduring talent, but it lacked follow-through. Sajjadieh remains a first-generation post-revolution star whose potential was underutilized.

Golchehreh Sajjadieh’s performances further exemplify the brilliance of the Best Iranian Actresses of All Time in capturing the complexities of human emotions.

Best Performances:

• The Wolf’s Trail
• Heyva
• Land of the Sun
• The Sergeant
• Snake’s Fang

3. Farimah Farjami

No Iranian actress reached her full potential due to cinema’s limitations, but first-generation post-revolution actresses, like Farimah Farjami, faced the steepest barriers. Born in 1952 in Tehran, Farjami graduated from the University of Art’s Dramatic Arts Faculty in 1977. She began with radio plays and a 1976 TV drama, Wax Doll. Her first major film, Masoud Kimiai’s Red Line, was banned for its political stance and lack of hijab, delaying her rise. Her role as a savvy newlywed discovering her husband’s SAVAK ties showcased her depth.

Kimiai’s Blade and Silk further highlighted her skill in a challenging role, earning critical acclaim despite censorship. A brief but memorable part in Dariush Mehrjui’s The Tenants followed. Her 1988 role in Kimiai’s Lead earned a Fajr Film Festival diploma, and in 1990, her performance in Varouj Karim-Masihi’s The Last Act won her the Best Actress Crystal Simorgh. Rakhshan Bani-Etemad’s Nargess in 1991 marked her final major cinematic success. Though active in the 1990s, she never recaptured her 1980s glory. A brief 2000 role in Fereydoun Jirani’s Water and Fire hinted at her real-life struggles, marking her last significant film. Farjami’s untapped potential remains a cinematic tragedy.

Best Performances:

• The Last Act
• Lead
• Blade and Silk
• Nargess
• Mother

4. Leila Hatami

Leila Hatami, arguably Iran’s most successful actress, was born in 1972 to filmmaker Ali Hatami and actress Zari Khoshkam. Raised in a cinematic family, she lost her father early, missing the chance to work extensively with him.

Her minor roles in his films, like Delshodegan, showed her beauty but not yet her talent. Initially uninterested in acting, Hatami’s career pivoted with Dariush Mehrjui’s 1996 Leila, a defining role that launched her stardom. Her innocent yet captivating presence—blending Iranian modesty with French allure—made her a natural star.

Hatami’s next major role in Kamal Tabrizi’s 1998 Sheyda opposite Parsa Pirouzfar cemented her as a beloved ingénue. Fereydoun Jirani’s 2000 Water and Fire saw her break typecasting, playing a complex prostitute—beautiful, intelligent, innocent, and sinful.

Her chemistry with co-stars, from Leila to Low Heights (2001) by Ebrahim Hatami-Kia, showcased her ability to connect with audiences. Her performances balanced introspection (Leila, Sheyda) and extroversion (Water and Fire, Low Heights).

From the mid-2000s, Hatami became Iran’s most prolific and acclaimed actress, rivaling Hedieh Tehrani but outlasting her in consistency. Her comedic role in Hamid Nematollah’s 2007 No Money earned a Fajr Crystal Simorgh, proving her versatility.

Films like Sa’adat Abad, Things You Don’t Know, and Asghar Farhadi’s A Separation (2011) elevated her to international fame, with jury roles at Cannes. Her work in Nematollah’s Rag-e Khab won another Simorgh. Despite recent quieter years, Hatami’s standard of excellence endures, though limited by Iran’s binary female archetypes.

Best Performances:

• Leila
• Water and Fire
• Low Heights
• The Verdict
• No Money
• Man
• Rag-e Khab

5. Hedieh Tehrani

In 1996, Hedieh Tehrani and Leila Hatami emerged as Iran’s new leading ladies. Tehrani’s debut in Masoud Kimiai’s Soltan was electrifying. Her Turkman features—sharp cheekbones, elongated eyes, and a commanding presence—set her apart.

Her cold, proud demeanor, softened by subtle warmth, captivated audiences. Unlike the emotive Sussan Taslimi, Tehrani’s stoic grace redefined female stardom. Her Soltan airport scene remains iconic.

From 1996 to 2005, Tehrani starred in Iran’s biggest films, often driving box-office success. Unlike Hatami’s selective approach, she worked with new directors like Saman Moghadam. Her 1997 role in Gharibaneh opposite Abolfazl Pourarab was a commercial and critical hit.

In 1998, she starred in three major films: Fereydoun Jirani’s Red (winning a Fajr Simorgh), Behrouz Afkhami’s Shokran (critically acclaimed), and others. Her roles in Naser Taghvai’s Unruled Paper and Farhadi’s Fireworks Wednesday showcased her range, with the latter earning another Simorgh.

After 2005, her output slowed, with sporadic returns like 2009’s Seven Minutes to Autumn. Now focused on environmental and charitable work, Tehrani’s cinematic impact remains unmatched.

Best Performances:

• Shokran
• Red
• Dirty Hands
• Unruled Paper
• Fireworks Wednesday
• Esrafil

6. Niki Karimi

Niki Karimi, dubbed Iran’s “Bride,” was the first post-revolution female star. Her stunning beauty in Behrouz Afkhami’s 1990 Bride alongside Abolfazl Pourarab made her and her co-star Iran’s first post-revolution leading duo.

Unlike Farimah Farjami, Karimi’s roles often leaned on her allure. Her 1992 role in Dariush Mehrjui’s Sara, adapted from Ibsen’s A Doll’s House, earned international accolades. Her work in Mehrjui’s Pari and Ebrahim Hatami-Kia’s The Scent of Joseph’s Shirt solidified her status.

Karimi was prolific through the 1990s and 2000s, averaging three films yearly. Her 1998 Two Women by Tahmineh Milani won a Fajr diploma, sparking a flood of female-driven roles. Her Simorgh for Ahmadreza Motamedi’s Madman Escaped from the Cage reflected her willingness to take risks. Later, she explored comedy, independent films, directing, translation, and festival judging, maintaining a cinematic focus.

Best Performances:

• Pari
• The Scent of Joseph’s Shirt
• Two Women
• Burnt Generation

7. Bita Farrahi

Bita Farrahi entered cinema in the late 1980s, a time when new female faces were needed. Born in 1958, educated in the U.S., and a former beauty queen, she debuted in Dariush Mehrjui’s Hamoun (1990). As Mahshid, she delivered a complex performance, earning a Fajr diploma.

Her next Mehrjui film, Banu, was banned, stalling her career. Her 1994 role in Ahmadreza Darvish’s Kimia earned a Fajr nomination. Farrahi’s selective approach limited her output, but her role in Masoud Kimiai’s Protest (2000) and brief parts in Bahman Farman-Ara’s Blood Play and Rakhshan Bani-Etemad’s Blood Game showcased untapped potential.

Best Performances:

• Hamoun
• Banu
• Kimia
• Protest

8. Fatemeh Motamed-Aria

Born in 1961, Fatemeh Motamed-Aria began at the Children and Youth Intellectual Development Center, working on projects like The School of Mice. Her cinematic career took off in the late 1980s. Her 1988 role in Mohammad Ali Talebi’s Barren Land won a Fajr Simorgh.

In 1991, her performances in Mohsen Makhmalbaf’s Naser al-Din Shah, Actor of Cinema and Bahram Beyzaie’s Travelers earned another Simorgh, followed by awards for Once and Forever (1992) and Spouse (1993), making her the record-holder for female Fajr Simorghs.

Motamed-Aria thrived in the 1990s and 2000s, excelling in Rakhshan Bani-Etemad’s Blue Scarf and Mohammad Reza Honarmand’s Wrong Man. Her role as a rural mother in Gilaneh (2005) was a highlight. Her expressive face—both sorrowful and joyful—made her a star despite not fitting conventional beauty standards.

Best Performances:

• Naser al-Din Shah, Actor of Cinema
• Actor
• Spouse
• Blue Scarf
• Sunglasses
• Gilaneh

9. Jamileh Sheikhi

Born in 1930 in Zanjan, Jamileh Sheikhi was a theater pioneer, dubbed the “Mother of Theater.” A graduate of theater studies, she co-founded a drama group in the 1950s. Her stage debut was in 1957’s Father by Strindberg, followed by TV plays with Ali Nasirian. Her cinematic presence was limited but powerful. Her 1991 role as a matriarch in Bahram Beyzaie’s Travelers won a Fajr Simorgh, as did her 1996 performance in Dariush Mehrjui’s Leila. Her role in Naser Taghvai’s Unruled Paper (2001) was her final major film.

Best Performances:

• Travelers
• Leila
• Unruled Paper

10. Taraneh Alidoosti

Born in 1984, Taraneh Alidoosti is the standout of Iran’s third-generation actresses. Her debut in Rasoul Sadr-Ameli’s 2001 I’m Taraneh, 15 won a Fajr Simorgh and international acclaim. Her selective approach led to collaborations with Asghar Farhadi (Beautiful City, Fireworks Wednesday, About Elly, The Salesman) and Mani Haghighi (Canaan, Simple Reception). Her role in Saeed Roustaie’s Leila’s Brothers was a career peak, though the film wasn’t widely released. Alidoosti’s feminist role choices and literary pursuits set her apart.

Best Performances:

• I’m Taraneh, 15
• Beautiful City
• A Married Couple’s Life
• Simple Reception
• Leila’s Brothers

11. Gohar Kheirandish

Born in 1954 in Shiraz, Gohar Kheirandish began theater in 1970 and married actor Jamshid Esmailkhani. Her cinematic debut came in 1986 with Asghar Hashemi’s Days of Waiting, but her role in Dariush Mehrjui’s banned Banu (1991) showcased her range.

Her performances in The Old Men’s School and the TV series Once Upon a Time brought wider fame. In the 2000s, she excelled in comedies like Bread, Love, Motorcycle 1000 and dramas like Low Heights, earning a Fajr Simorgh for The Law of Love. Her versatility shines in Donya and Mask.

Best Performances:

• Banu
• The Face
• Low Heights
• Bread, Love, Motorcycle 1000
• The Law of Love
• Women’s Circle

12. Golab Adineh

Born in 1953, Golab Adineh is a theater icon who graduated in political economy but pursued acting. Her TV role in Soltan and the Shepherd (1981) brought fame, but her cinematic breakthrough was Rakhshan Bani-Etemad’s 1988 Yellow Canary.

Her roles in Bani-Etemad’s Blue Scarf, Under the Skin of the City, and May Lady defined a working-class female archetype, earning a Fajr Simorgh for Blue Scarf. Her comedic role in Bahram Tavakoli’s I’m Diego Maradona was a highlight. Adineh’s theater work, including staging Bahram Beyzaie’s plays, remains central.

Best Performances:

• Blue Scarf
• Mom’s Guest
• Under the Skin of the City
• I’m Diego Maradona

13. Soraya Ghasemi

Born in 1940, Soraya Ghasemi, daughter of actress Hamideh Kheirabadi, began with radio in the 1960s and moved to theater. Her cinematic debut in Naser Taghvai’s 1970 Tranquility in the Presence of Others was unreleased, shifting her focus to TV.

Her 1989 role in Mehdi Fakhimzadeh’s The Suitor stood out, and her 2000 performance in Mehdi Sabbaghzadeh’s Maral won a Fajr Simorgh. Her role in Fereydoun Jirani’s The Last Supper and Monir Gheidi’s Villa Dwellers (another Simorgh) showcased her range.

Best Performances:

• The Suitor
• Maral
• The Last Supper

14. Afsaneh Bayegan

Born into an artistic family, Afsaneh Bayegan, a pre-revolution beauty queen, began acting post-revolution with Mohammad Ali Najafi’s 1983 series Sarbodaran. Her 1985 film debut in Mehdi Sabbaghzadeh’s Lost launched a prolific career in family dramas and femme fatale roles.

Her performances in Mohammad Reza Honarmand’s Wrong Man and Kiomars Pourahmad’s Sisters of Sorrow (1997) highlighted her versatility. Saman Moghadam’s Café Setareh (2005) revealed her depth as a resilient woman, though her later cinematic roles didn’t match this peak.

Best Performances:

• Wrong Man
• Sisters of Sorrow
• Café Setareh
• Canaan

15. Hamideh Kheirabadi

Known as Iran’s “Mother,” Hamideh Kheirabadi (1924–2010) began acting in the 1950s. Post-revolution, she became the quintessential nurturing mother in films like The Tenants and Mother, with subversive roles in Actor. Her extensive TV work cemented her legacy as Iran’s ultimate matriarch.

Best Performances:

• The Tenants
• Mother
• Actor

16. Mahaya Petrossian

Born in 1969, Mahaya Petrossian, an Armenian-Iranian, graduated in theater. Her 1990 debut in Mohammad Reza Elami’s Love and Death was followed by Varouj Karim-Masihi’s The Last Act. Her roles in Mohsen Makhmalbaf’s Naser al-Din Shah, Actor of Cinema and Actor (1992) showcased her intensity. Despite a busy 1990s, her later films, except Abdolreza Kahani’s 2010 The Horse Is a Noble Animal, didn’t match her early promise.

Best Performances:

• Naser al-Din Shah, Actor of Cinema
• Actor
• The Last Act
• From the Heart
• The Horse Is a Noble Animal

17. Merila Zare’i

Merila Zare’i debuted in Tahmineh Milani’s 1998 Two Women, gaining fame with the 2001 series Young Police. Her supporting roles in Masoud Kimiai’s Soldiers of Friday (Fajr Simorgh), Asghar Farhadi’s About Elly, and A Separation were standout. Her lead roles in Narges Abyar’s Track 143 and Pouran Derakhshandeh’s Under the Smoky Roof won Fajr Simorghs, though her later roles leaned repetitive.

Best Performances:

• Soldiers of Friday
• Punishment
• About Elly

18. Homa Rousta

Born in 1944, Homa Rousta was a theater luminary trained in Bucharest. Her 1971 cinematic debut in Samuel Khachikian’s Glass Wall preceded a focus on theater with husband Hamid Samandarian. Her 1987 role in Pouran Derakhshandeh’s Little Bird of Happiness and 1989’s All the Temptations of the Earth by Samandarian earned Fajr nominations. Her brief but haunting role in Bahram Beyzaie’s Travelers and Ebrahim Hatami-Kia’s From Karkheh to Rhine (1993) were career peaks.

Best Performances:

• From Karkheh to Rhine
• Little Bird of Happiness

19. Niko Kheradmand

Born in 1932, Niko Kheradmand was a renowned voice actress before shining on screen. Her 1990 role in Varouj Karim-Masihi’s The Last Act as a decaying aristocrat won a Fajr Simorgh. Her performance in Mehdi Sabbaghzadeh’s Empty House opposite Ezzatollah Entezami was equally compelling, showcasing her range from kindness to malice.

Best Performances:

• Empty House
• The Last Act
• Unruled Paper

20. Vishka Asayesh

Born in 1972, Vishka Asayesh rose to fame as Qutam in Davood Mirbagheri’s Imam Ali series. Her 1997 role in Mirbagheri’s Sorceress earned a Fajr nomination. Her comedic triumph in Rambod Javan’s 2010 No Men Allowed won a Fajr Simorgh, while her dramatic role in Peyman Maadi’s Snow on the Pines was memorable. Her physicality and comedic timing define her unique presence.

Best Performances:

• Sorceress
• No Men Allowed
• Snow on the Pines

21. Hanieh Tavassoli

Born in 1979 in Hamedan, Hanieh Tavassoli studied playwriting. Her 2001 role in Fereydoun Jirani’s The Last Supper opposite Katayoun Riahi was a bold debut. Her nuanced performance in Farzad Motamen’s Bright Nights and Saman Moghadam’s Café Setareh earned praise. Her role in Behrouz Shoeibi’s Dehliz won a Fajr Simorgh. Tavassoli’s consistent, versatile career spans cinema, TV, and streaming.

Best Performances:

• The Last Supper
• Bright Nights
• Café Setareh

22. Roya Teymourian

Born in 1959, Roya Teymourian began in theater during the revolution. Her role in Davood Mirbagheri’s Ra’na series and Manijeh Hekmat’s 2000 Women’s Prison brought critical acclaim, with the latter earning a House of Cinema award. Her comedic role in Saman Moghadam’s Café Setareh and brief but impactful part in Dariush Mehrjui’s Santouri showcased her range. Teymourian’s theatrical grounding ensures reliable performances.

Best Performances:

• Women’s Prison
• Café Setareh
• Santouri

Honorable Mentions

• Negar Javaherian in Nothing and Without Reason
• Pantea Bahram in Fireworks Wednesday and Without Reason
• Mahboubeh Bayat in Travelers

Conclusion

These actresses, from Sussan Taslimi’s mythic intensity to Taraneh Alidoosti’s modern finesse, have defined Iranian cinema’s soul. Their performances transcend limitations, offering a window into Iran’s cultural richness.