Aghdashloo’s next two films, The Report (1977) by Abbas Kiarostami and Sooteh Delan (1977) by Ali Hatami, cemented her reputation as a leading lady of Iranian art cinema. In The Report, she played opposite Kiarostami’s understated realism, portraying emotional depth with subtlety and authenticity. The film, widely praised by critics, explored the moral crises of Iran’s middle class during a time of growing political unrest. Similarly, Sooteh Delan—a tragic tale set in Qajar-era Tehran—showcased her ability to convey complex emotions through silence and gesture, a skill that would later distinguish her performances in English-language films.
By 1978, Aghdashloo had achieved national stardom. However, the Iranian Revolution of 1979 dramatically changed the landscape of the country’s film industry. Many of the films in which she starred were banned or censored, and artists associated with modern, Westernized themes faced increasing pressure. Confronted with a rapidly closing space for artistic expression, Shohreh Aghdashloo made the life-changing decision to leave Iran.
Exile and Resettlement in the West
Leaving her homeland amid the upheaval of 1979, Aghdashloo moved first to England. She had previously visited London as a child, and the city’s vibrant multicultural atmosphere provided a measure of comfort. While studying at Brunel University, she also engaged with the Iranian diaspora community and continued her involvement with theater. Her early years in exile were difficult — she had left behind fame, language, and familiarity — yet she remained determined to pursue her passion for acting.
