Şebnem Hassanisoughi

Photo Source: ayni yağmur atlında, Atv

Şebnem Hassanisoughi is a Turkish and Iranian-Azerbaijani actress. She acted in Eve Dönüş: Sarıkamış 1915 (The Long Way Home, also: Miray Akay), Siyah Karga (The Black Crow), Lifeboat, Kayıp Şehir (The Lost City), Tatar Ramazan (also: Özge Özpirinçci & Hande Erçel), Bana Artık Hicran De (Sorrow, also: Aslı Enver), Poyraz Karayel (For My Son, also: Celil Nalçakan & Burcu Cavrar), Vatanım Sensin (Wounded Love, also: Alina Boz, Okan Yalabık & Devrim Özkan), Nefes Nefese (Breathless, also: Şükrü Özyıldız), Andropoz (Man on Pause), Sıcak Kafa (Hot Skull), Aktris (Actress, also: Uraz Kaygılaroğlu), Yabani (Wild Heart, also: Simay Barlas, Gizem Sevim, Hakan Çelebi & Seray Özkan), Kral Kaybederse (The Fall of the King, also: Merve Dizdar), as Aylin in Doktor: Başka Hayatta (Doctor: In Another Life, Turkish Adaptation of Italian Series – DOC – Nelle Tue Mani, also: Eylül Tumbar) and more.

Facts:

• her mother is Turkish and her father is an Iranian Azerbaijani
  • her surname translates to “The Path of the Beautiful” in Persian
• although her father is Iranian, she admits she does not possess much of the culture beyond certain genetic traits
  • while she expresses a strong desire to have been more connected to her Iranian heritage, she notes that she unfortunately was not raised with it
• when asked why she hasn’t taken part in Iranian cinema, she admitted she truly wants to, though she hasn’t been able to dedicate the necessary effort yet
  • she expressed a desire to work on it and learn Persian; while she has a genetic predisposition and a certain familiarity with the language, she does not speak it
• entering the conservatory at 17, she spent four years training with Türkiye’s top instructors, gaining a wide range of techniques and hands-on experience in every aspect of theatre, from costume sewing to lighting design
  • she believes that mastering the intellectual and technical background of a play is just as vital as acting itself
  • her master’s degree grew from a desire to deepen her artistry, and she takes great pride in the fact that her academic thesis on acting is still cited as a contribution to the field today
• she remains a dedicated fan of cinema, with a deep love for classic films and directors like Buñuel, Godard and Chaplin, whose works she feels she could watch forever, whenever she feels overwhelmed, she turns to their films for comfort
  • she also recently recalled Persepolis and mentioned being deeply moved by two short films, La Maison en Petits Cubes and Fauve, which she has revisited for years and highly recommends
• while her profession brings popularity, she refuses to take on projects solely for the sake of being famous
  • choosing to prioritise her personal happiness as “Şebnem” she prefers to avoid work that doesn’t fulfil her as an individual
  • her true passion lies simply in the act of performing; she wants the audience to be curious about her roles, rather than her private life
  • content with her choices, she admits her only frustration arises when those artistic preferences limit her work’s visibility
    • while she wishes millions could see her films rather than just a few thousand, she acknowledges that her personal vision often differs from mainstream global trends

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