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Billie Vee stars in her self-penned film ‘Sparrow’s Call’, premiering at the London Independent Film Festival

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Photo credit: Ryan O’Donoghue

Greek-British actress Billie Vee has written – and stars in – the psychological thriller ‘Sparrow’s Call’, which is showing at London’s Genesis Cinema on Sunday 21st April. Billie is thrilled that the film, which is directed by Tim Kent, has been officially selected for the London Independent Film Festival as it explores the challenges of being a migrant in this country, a topic that’s close to her heart. Here she talks about growing up in the birthplace of theatre, why she loves writing, and filming her movie during the Covid lockdown. 

How did you get started as an actress?

“I was born in Athens, Greece, the birthplace of theatre, and I couldn’t even remotely imagine that years later I would be making films in London. From a very young age I remember being in awe of actors on stage. However it was when my parents took me to the cinema for the first time that I felt completely mesmerised. That’s when I knew I wanted to be an actor and that my biggest dream was to star in an English-language feature film.” 

Where did you train?

“I trained at the Greek Art Theatre Karolos Koun and I received my degree in theatre studies from the University of Athens. After graduating, I started working and gaining experience that spanned from TV and film roles and TV presenting to performing on stage, including the ancient open theatre Odeon of Herodes Atticus. Wanting to expand my artistic horizons and learn how to act in English, I moved to London, where I immersed myself into a journey of continuous self-improvement and development of my craft.” 

You wrote the screenplay for ‘Sparrow’s Call’ – how did that come about?

“While continuing my career as an actor in London, I felt the urge to pursue my childhood dream of starring in a feature film. That’s how writing came to my life and I started creating my own work. ‘Sparrow’s Call’ (directed by Tim Kent and produced by Alessio Bergamo) is my first feature film as a writer, after having scripted several award-winning short films and a web series.

“When I write something, it comes from inside me, as a need to express something deeper and then it transforms into a work of fiction to entertain an audience, and make them think and feel.”

Where did you get the inspiration for ‘Sparrow’s Call’?

“‘Sparrow’s Call’ is inspired by my personal journey as a generic migrant in London. Being a foreign actor, I was constantly labelled as ‘Greek’ or ‘exotic”, so I took those labels and moulded them into a fictitious character, Val. The only thing that happened for real and that’s depicted in the film is an incident with a sparrow that took place when I was a child in my father’s village. That’s how I came up with the title of the film.”

What’s the plot of the film?

‘Sparrow’s Call’ follows the story of Mike, a successful philosophy lecturer and a family man who is captivated by Val, an exotic dancer, after saving her from danger. When they throw themselves into a rollercoaster of physical and intellectual connection, Mike fears his whole world is about to fall apart and must face the consequences of his affair.I play Val, who’s a migrant from Greece, but her nationality remains obscure throughout the film. She comes from a low socio-economic background, working in the sex industry as an exotic dancer. She is hardened by life and wants to escape from her environment. She lives with her grandmother who is severely paralysed, but whose mind works perfectly well. By a twist of fate, Val meets Mike and falls in love with him, but also sees him as an opportunity to get out of what seems to be a hopeless situation.” 

What was it like working on the film set?

“Working on the set of ‘Sparrow’s Call’ was an absolute blast from start to finish. I had the chance to play opposite David Bark-Jones, who brilliantly portrays the character of Mike, and also to work with the wonderful Valerie Colgan, who plays my grandma.”

“All the cast and crew were truly committed to the project, the environment felt safe and the whole set was oozing positive energy, something that was much-needed considering the fact that we were filming during the Covid lockdown.” 

Where can we see the film?

“‘Sparrow’s Call has been officially selected for the London Independent Film Festival and will be premiering on 21 April at the Genesis Cinema. It’s highly recommended for those who love twisted psychological thrillers with an existential touch and subtle social commentary.”

Photo credit: Ryan O’Donoghue

We Speak Actors

Born in Tehran, Raised on the UK Stage: How Mohsen Ghaffari’s Dual Vision and Multilingual Craft Define His Acting Identity

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With a career spanning theatre, television, and award-winning international productions, Iranian-British actor Mohsen Ghaffari is quietly carving out a name as one of the most compelling emerging talents of his generation. Born in Tehran and having built his career in the UK, Ghaffari brings a uniquely global perspective to every role—comfortable working in Farsi, English, Kurdish, Dari, Turkish and Arabic, and equally at home on a classical stage or a high-stakes international drama set.

Fresh off his breakout performance in The Deal—a powerful political series that earned acclaim and multiple awards at Series Mania—Mohsen is now starring in The Government Inspector at Chichester Festival Theatre, directed by the legendary Gregory Doran. From embodying multilingual characters in complex geopolitical narratives to championing cross-cultural stories with emotional resonance, his work is defined by depth, nuance, and a fierce commitment to authenticity.

In this conversation, Mohsen reflects on the power of language, cultural duality, and what it means to bring your full self to the stage and screen.

1. The Deal has received fantastic reception and even won multiple awards at Series Mania. Can you share what the experience has been like for you as an actor, and how the success of the show has influenced your career?

The success of The Deal is really down to the incredible team behind it, especially Jean-Stéphane Bron, our director. Jean dedicated over five years of his life to this story, and it shows in every frame of the show. His rich background in documentary filmmaking brought a unique, almost raw authenticity to the production that pushed us all to dig deeper into our characters and the narrative. It was an experience that felt real in a way I hadn’t anticipated, and it was Jean-Stéphane’s vision and relentless dedication that gave the project such a powerful heartbeat.

For me as an actor, working on this show was a journey of growth. The accolades it received—particularly at Series Mania—are humbling, but ultimately, it’s the experience of collaborating with such a talented team that I’ll always treasure. The success of the show has opened up new doors and opportunities, which I’m really grateful for, but it’s not just about the recognition. It’s the chance to continue working on projects that excite me and challenge me creatively that really fuels my passion.

Photo by Oscar Davidson

2. You’re currently working on a new theatre project at Chichester Festival Theatre, directed by Gregory Doran. How has this collaboration with such a legendary director shaped your approach to the production? What can audiences expect from the show?

Believe it or not, working with Gregory Doran has been a dream come true. For years, I’ve wanted to collaborate with him, especially when he was at the RSC, so it’s incredibly special to finally have that opportunity. Gregory has this incredible ability to give actors the freedom to explore their roles. He makes you feel so comfortable, in fact, that you somehow end up bringing a bit of yourself, your culture, your accent, your unique perspective, into the performance in ways you didn’t even expect. It’s truly magical how he creates a space where you feel empowered to take those risks while also grounding you with a solid foundation.

His direction is graceful and intuitive, and somehow he allows you to take ownership of your character while remaining true to the story’s core. I honestly don’t know how he does it, but it’s one of the rare qualities in a director that really makes you feel seen and heard.

As for what audiences can expect from The Government Inspector, it’s a brilliant, satirical show with a sharp wit and biting social commentary. It’s funny but layered with deeper meaning, exploring themes of bureaucracy and human nature.

“The energy in the room is electric, and I believe the audience will truly connect with both the humor and the more poignant moments in the story.”

And, if we do justice to the play, I hope the audience can see a bit of themselves reflected on stage or find elements that resonate with them.

Photo by Oscar Davidson

3. As an Iranian-British actor, your background likely gives you a unique perspective on the roles you take on. How has your heritage influenced your work in both theatre and television?

Being Iranian-British has certainly shaped how I approach acting, especially when it comes to roles that involve cultural depth and authenticity. Growing up in Iran and then moving to the UK, I’ve had the opportunity to experience life through both perspectives. It gives me a kind of “dual vision” when I’m preparing for a role, seeing it from both a Western and Middle Eastern viewpoint. It also means I’m attuned to how characters might experience life in two worlds, which adds layers to their stories.

I think a lot of the roles I’ve taken on reflect that: whether it’s portraying an Iranian-Kurdish character in Ostan, or an Iranian officer in Flight 422, there’s a richness that comes from understanding both sides of the cultural experience. My heritage allows me to approach roles with that level of detail, ensuring I’m capturing the right elements of the character’s identity and personal journey.

Ultimately, it’s about telling more authentic and grounded stories. I feel incredibly fortunate to be able to bring this perspective to both the stage and screen, and I’m excited for more opportunities to explore those roles moving forward.

4. Your multilingual abilities are a distinctive part of your career. How have they helped you connect with a wider range of roles and audiences, and how do you see this skill shaping your future projects?

Being a native Farsi speaker definitely gives me a solid foundation to connect with other Middle Eastern languages, like Dari, Arabic, Sorani, and Kurmanji, and even different dialects, like Moroccan Arabic. I’ve always felt that understanding the culture and language makes a huge difference when playing characters. It’s not just about speaking the words; it’s about capturing the emotion, the context, and really living in the character’s world.

For example, in Phaedra at the National Theatre, I understudied one of the characters when the original cast member got hit by COVID. I had to step in and perform in Moroccan Arabic, and even though I hadn’t done that before, my familiarity with Arabic really helped me feel comfortable with the language. And in The Syrian Baker at Farnham Maltings, there weren’t many Arabic lines, but just having that cultural understanding was so helpful in adding authenticity to the role.

“From playing an Iranian-Kurdish character in Ostan, where I was juggling five languages (English, Farsi, Arabic, Kurdish, and Kurmanji), to playing Iranian army officers in Flight 422 and The Deal, I feel like my multilingualism really opens doors. It lets me connect with a broader range of characters and makes it easier to bring those roles to life authentically.”

Looking ahead, I’m excited to keep using this skill to tackle even more diverse roles and share stories that reflect different cultures. It’s something that I hope will continue to shape my career, giving me the chance to tell even more stories from all over the world.

Photo by Oscar Davidson

5. Looking to the future, what types of stories are you most passionate about telling, and what are you excited about in the next chapter of your career?

I’m drawn to stories that centre real, complicated people, especially those who exist between cultures, or who are navigating systems bigger than themselves. I love character-driven screen work that carries emotional depth and political or social weight , but I also enjoy projects that surprise me formally or tonally. The Deal really opened that door further for me, and I’d love to keep working across international productions that challenge and inspire.

At the same time, I have a real love for classical theatre, especially Shakespeare. Working with Gregory Doran, who ran the RSC for years, felt like being one step away from the big Shakespearean leagues. Hopefully it’s just a matter of time now, I’ve waited patiently, surely it’s my turn! (laughs) I’d love the chance to bring my own perspective to those stages, whether at the Royal Shakespeare Company or Shakespeare’s Globe.

Ultimately, I’m excited by collaboration, with bold directors, writers, and teams who want to tell human, resonant stories. And I’m beginning to develop some of my own work too, which feels like a natural next step.

Fetured photo by Oscar Davidson

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