Jamal Soliman, one of the most prominent figures in the Arab world, boasts a rich artistic legacy marked by performances that have left an indelible mark on the history of Arab drama. Since his debut in the 1970s, the Syrian actor has solidified his place at the forefront of the industry with his remarkable talent and ability to portray multifaceted characters with authenticity and depth. Soliman stands out as one of the rare artists who seamlessly blend artistic excellence with a deep engagement in social issues, ensuring a lasting presence in the collective memory of Arab drama.
In this exclusive interview, Jamal Soliman reflects on his artistic philosophy, milestones in his career, and the challenges he has faced. He opens up about his experience in the recent series “Ahl El-Khataya” (“The People of Sins”), his collaboration with director Raouf Abdel Aziz, the future of Arab drama, and his views on art’s evolving role in society.
Following your acclaimed performance in “El Tawoos”, how did your collaboration with Raouf Abdel Aziz evolve in “Ahl El-Khataya”?
Working with Raouf Abdel Aziz has always been a rewarding experience. Our first collaboration was in “El Tawoos” (2021), which received widespread acclaim. With “Ahl El-Khataya”, our work matured further. The series merges elements of reality and fantasy—a style Raouf is particularly fond of—and, thankfully, it resonated strongly with audiences. Raouf brings a visionary perspective and a unique visual language to his work. His talent as a director of photography elevates every scene, making our collaboration artistically fulfilling. I truly hope we work together again in the future.
How did you approach the character of Noah in “Ahl El-Khataya”?
For me, building a character begins with imagination and a deep dive into the world the character inhabits. I always consult closely with the director to develop a nuanced portrayal. In “El Tawoos”, I studied real-life lawyers. For “Ahl El-Khataya”, I focused on the lives of tradesmen and merchants. Noah is a man from the countryside who has adapted to city life, carrying within him a profound internal struggle between good and evil. I’ve encountered many such individuals in my daily life, and their stories greatly influenced my interpretation of Noah.
What core message does “Ahl El-Khataya” aim to deliver?
At its heart, the series explores the eternal conflict between good and evil, and how our experiences shape us. Noah, as the eldest brother, confronts both personal and familial challenges. The narrative raises questions about how economic and social pressures influence our decisions, while still emphasizing that we are responsible for our choices. The message is clear: while life is filled with challenges, we must hold fast to our moral values.
How do you assess the current state of Syrian drama?
Syrian drama has suffered greatly due to the conflict and societal fragmentation. Yet many Syrian artists have persisted, continuing to create work that reflects both the pain and the hope of our people. I’m optimistic. With more space for creative freedom and proper investment in the cultural sector, Syrian drama will undoubtedly return—stronger, deeper, and more impactful.
What are your thoughts on the broader landscape of Arab drama?
The greatest challenge facing Arab drama today is the lack of mature scripts. It’s not a matter of talent—there are many skilled writers—but of rushed production schedules and commercial priorities. Writers need time and space to develop their narratives. We need a shift in production values: one that prioritizes artistic quality over quick returns. Production must serve the story—not the other way around.
Can you share any upcoming projects?
Yes, I’m currently preparing for a new feature film, the details of which I’ll reveal soon. In addition, we’re set to begin filming a new series titled “Journey to the Well”. This project carries a philosophical and humanistic tone, and I believe it will resonate strongly with audiences.
How do you maintain a balance between your career and personal life?
Striking that balance is essential. While my work demands focus and dedication, I always make time for my family and moments of solitude. These quiet times help me recharge and stay grounded. In fact, my personal life often serves as a source of inspiration, fueling my creativity.
You’ve worked in both Syrian and Egyptian cinema. How do you compare your experiences?
Egyptian cinema holds a unique place in the Arab world. My work in films like “Leilet El-Baby Doll” with Mahmoud Abdel Aziz and “El Kahen” with Hussein Fahmy was incredibly enriching. Cinema presents a distinct challenge—it requires concise, intense storytelling, whereas television drama allows for deeper character development. Both formats are rewarding, and I value the ability to move between them.
What is your take on the current state of Arab social drama?
There’s been notable progress. More works are engaging with real societal issues—poverty, education, injustice. However, we still need scripts that delve deeper, that avoid superficial treatment of complex problems. Art can spark meaningful change, but only when the message is clear, sincere, and thoughtfully crafted.
Do you believe art has a responsibility to raise social awareness?
Absolutely. Art is one of the most powerful tools for shaping public consciousness. It brings difficult conversations into the spotlight and challenges prevailing norms. While entertainment is important, art must also reflect truth and inspire change. That’s when it becomes truly meaningful.
How do you see the impact of technology and digital streaming on the Arab art industry?
Digital platforms have transformed the industry. They allow artists to reach audiences directly, breaking traditional barriers. But with this opportunity comes the responsibility to maintain high standards. Competition is fierce, and audiences are more discerning. To stand out, we must focus on substance, not just style.
What challenges must Arab drama overcome to thrive in the future?
We need better storytelling. Many productions still rely on outdated formulas. We must nurture bold, innovative writers and support production models that value creativity over volume. If we can overcome these hurdles, Arab drama has the potential to compete on the global stage.
Do you foresee a revival of artistic production in Syria?
Yes, I believe the potential is there. Despite the hardships, many artists are working tirelessly to keep Syrian art alive. If we invest in culture, protect freedom of expression, and create the right conditions, Syrian drama will not only recover—it will flourish with renewed strength and maturity.
