By Fateme Torkashvand
- Drama: Narya
- Director: Javad Afshar
- Producer: Mohammad Mesripour
- Screenplay: Hamid Rasoulpour
- Cast: Saman Saffari, Amir-Yal Arjmand, Kazem Balouchi, Fariba Motamed, and newcomers Zahra Naderifar, Mohammad-Saeed Farazmand, and Donya Fathi
- Commissioned by the Film and Series Center of the IRIB World Service
While Western media often portray Iranian women through stereotypical lenses, the new series Narya, produced by the IRIB World Service, offers a compelling counter-narrative.
This popular drama follows Houjan, a young and brilliant Kurdish woman who manages a high-tech computer component manufacturing company in her hometown of Kermanshah, situated on the foothills of the Zagros mountain range in western Iran.
Houjan’s journey is anything but easy. She faces a complex maze of challenges posed by global and local mafias entrenched in dangerous and illicit trades.
Through her gripping story, Narya vividly dramatizes the real-life obstacles Iranian scientists, entrepreneurs, and innovators have confronted over the past three decades, ranging from cruel and crippling sanctions, financial isolation and internal social pressures.
But Houjan’s struggles and battles are not only external. She must also navigate betrayal from within her own team when one of her key engineers is unknowingly ensnared by foreign spying agencies – a tactic all too familiar in attempts to undermine scientific progress in countries deemed adversaries by the Western hegemonic powers.
As director Javad Afshar said in an interview with ISNA, “One day, I came across an article by a prominent American politician who stated: ‘Our enemy is anyone who gets close to our scientific red lines’.”
“In other words, any country or scientist anywhere in the world that attempts to cross those lines becomes a target—subject to recruitment, sabotage, or elimination.”
Narya explores all three of these tactics, illuminating the psychological and political warfare waged against nations striving for technological and scientific self-reliance.
Yet, the series is far more than a corporate or espionage thriller. It delves into shadowy realms of diamond smuggling, black-market rare manuscripts, and trafficking of advanced technology.
These overlapping plotlines create a richly textured narrative that challenges viewers intellectually while remaining emotionally engaging.
Managing nearly 100 distinct characters – each with unique motivations and story arcs – is no small feat. This structural complexity is balanced by clarity in storytelling, a rare achievement in the detective-thriller genre that demands both narrative depth and viewer accessibility.
Beyond its thought-provoking plot, Narya impresses with outstanding production value. Filmed across more than 130 locations in five countries, the series delivers striking visual authenticity and cultural richness.
Director Afshar of Gandu series fame emphasizes that these settings serve not merely as spectacle but to enhance realism and emotional resonance.
From the vibrant streets of Istanbul to the rugged terrains of Iran’s western provinces, the geographic diversity adds credibility and layers to the story.
By portraying Iran’s ethnic mosaic – Kurdish, Turkish, Persian – Narya celebrates the nation’s multicultural identity and subtly conveys a message of unity through diversity.
The series also excels in its cinematic execution. Afshar’s direction is precise and purposeful, using expansive wide shots to evoke isolation and tight close-ups to heighten tension.
The pacing is deliberate, often lingering on emotional moments of personal crisis and moral complexity. Crisp yet unobtrusive editing allows the layered timeline to unfold seamlessly.
One of Narya’s standout achievements lies in its music. The score – crafted with an acute sense of suspense and emotional depth – enhances the atmosphere without resorting to bombastic flourishes. Instead, it employs subtle, lingering tones that reflect the emotional weight of each scene.
This “suspenseful minimalism” functions as a psychological undercurrent, continuously reminding viewers of the ever-present threats without overshadowing the narrative. The delicate balance of sound and silence intensifies the show’s emotional impact and mirrors the internal and external battles faced by its characters.
Ultimately, Narya is much more than a crime or corporate drama. It is a symbolic portrait of the modern Iranian woman, not as a victim of circumstance, but as a force of innovation and resilience.
Houjan, with her intelligence, dignity, and perseverance, stands as a metaphor for a broader societal movement: the rising role of educated women driving Iran’s scientific and economic transformation.
Perhaps the most poetic element of all is the series’ title itself. “Narya” is “Iran” spelled backward in Persian – a clever and deliberate linguistic inversion, not accidental.
It reflects the series’ central thesis—that within Iran lies a deeper, often unseen force of progress, and that women like Houjan are its beating heart.
In a world that often distorts, isolates, or exploits, Narya reclaims the narrative, reminding us that Iran’s future may well be shaped by the determined hands of its capable daughters.
Fateme Torkashvand is a Tehran-based journalist specializing in cultural affairs.
