Rising Stars Krystina Bojanowski, Ali Golbaharan, Shervin Esfandyari, and Oksana Andrulis, of ‘Papa Sierra the Anthology’ On Five Things You Need To Shine In The Entertainment Industry
Life doesn’t always go as planned, and we all face challenges that can feel overwhelming. But there’s always hope. The ability to pick up the pieces, rebuild, and keep moving forward is one of the most incredible things about being human.” — Oksana Andrulis
I had the pleasure of talking with (pictured left to right) Krystina Bojanowski, Ali Golbaharan, Shervin Esfandyari, and Oksana Andrulis, of Papa Sierra the Anthology.
Krystina Bojanowski is a Canadian actress and singer from the west coast of Canada, near the Rocky Mountains. Growing up in a fjord surrounded by dense forests and waterways, she developed a deep connection to nature that continues to influence her creative and personal life. Her upbringing in this rugged environment instilled in her a sense of grounding, which she credits as a source of inspiration and resilience.
Descended from a Tsarist officer and an Olympic wrestler, Bojanowski combines a historical legacy of determination with her own artistic pursuits. Her early passion for music was sparked by Canadian jazz singer Diana Krall, leading her to explore singing and musical theatre. This love for the performing arts soon expanded to encompass classical theatre, culminating in her training at the prestigious National Theatre School of Canada. There, she honed her skills in classical text, breath work, and physical theatre inspired by the Grotowski method, a rigorous, creation-based approach to performance.
Her professional portfolio spans stage and screen. On television, Bojanowski appeared in Anne with an E, the acclaimed CBC and Netflix adaptation of Anne of Green Gables, where she portrayed Mrs. Morrison. She has also participated in award-winning short films, demonstrating her versatility in both dramatic and independent cinema. Her theatrical credits include performances in classic works across Canada, with standout roles such as Iago in Othello and a contemporary reimagining of Juliet in Romeo and (Her) Juliet. She has also taken on Shakespearean roles like Perdita in The Winter’s Tale and Bijou in the play In This World, performed at Factory Theatre in Toronto.
Beyond acting, Bojanowski is an accredited Patsy Rodenburg Associate, specializing in voice coaching and presence work. This accreditation enables her to guide others in reclaiming their natural voice and connecting with their authentic power, skills she applies to teaching and workshops.
While her professional life is deeply rooted in the arts, Bojanowski values the pleasures of everyday life. She enjoys kayaking, experimenting in the kitchen — often adding a touch of lemon to her culinary creations — and holds a firearms license. These hobbies reflect her multifaceted personality, which balances creativity with a love for adventure and exploration.
A return to musical theatre in 2021 marked a significant milestone in her career. During a workshop for a musical adaptation of Mikhail Bulgakov’s The Master and Margarita at Crow’s Theatre, she rediscovered her passion for singing after focusing on straight drama for several years. The experience, described by Bojanowski as profoundly moving, underscored her belief in the power of live performance to connect audiences and artists, even in challenging times.
Bojanowski’s perspective on storytelling is informed by her appreciation for human connection. She is currently involved in new projects, including appearances in film and television, and continues to be an active contributor to Canada’s vibrant performing arts community.
Ali Golbaharan is an Iranian actor, writer, and producer whose works have significantly impacted both cinema and television, particularly within Iranian and international filmmaking circles. With a career spanning several years, Golbaharan has earned a reputation for his versatility and commitment to storytelling, both in front of and behind the camera. Born into an artistic family, he was immersed in the arts from an early age. His upbringing, enriched by a creative environment and a connection to nature, fostered a lasting appreciation for Iran’s rich cultural and historical depth. Growing up among poets, writers, and artists, he was encouraged from a young age to explore his artistic inclinations. These formative experiences shaped his approach to art, emphasizing emotional authenticity and a strong connection to human experiences. Golbaharan initially gained recognition for his performances in a series of Iranian films, including “Che” (2014), “life and a day” (2016), and “Rabidity” (2016). These roles showcased his ability to convey complex emotions and embody characters with depth and nuance. His work in these productions reflects his dedication to telling stories that resonate with audiences while firmly rooted in cultural authenticity. In addition to his acting achievements, Golbaharan has also ventured into writing and producing. He wrote the screenplay for “Hadiyeh” (2015), which explores themes of love and introspection. As a producer, he has supported projects such as “Maybe It Wasn’t Love” (2017), directed by renowned Iranian filmmaker Saeed Ebrahimifar, as well as “white fish season” (2019) and “Shahin” (2021). Through these efforts, he has demonstrated a keen eye for compelling narratives and emerging talents in the Iranian film industry. On television, Golbaharan has appeared in prominent series such as “Shahrzad,” directed by Hassan Fathi, and “Asprin,” directed by Farhad Najafi, as well as “Time for Lovers,” directed by Hossein Latifi. These roles solidified his status as a multifaceted actor capable of navigating various genres and formats. His television work has allowed him to connect with broader audiences and has earned him acclaim for his ability to bring authenticity and gravitas to his performances.
Recently, Golbaharan has taken on a triple role as producer, actor, and screenwriter in “Papa Sira: Anthology,” a film that explores the emotional aftermath of the Ukrainian PS752 flight disaster in 2020. Currently in post-production, this project focuses on the intertwined stories of three women profoundly affected by the incident. In addition to co-writing the screenplay with the film’s director, Arash Sajadi Hosseini, Golbaharan portrays the character Yusuf, whose presence looms over the narrative even as he remains absent for much of the story. Golbaharan described the challenges of this role and the unique process of embodying a character that largely exists through the memories and emotions of others. Golbaharan’s contributions to “Papa Sira” reflect his commitment to exploring themes of love, loss, and resilience. The film aims to humanize a global terrorist tragedy by focusing on intimate, personal stories, aligning with his broader artistic philosophy. Throughout his career, Golbaharan has maintained a deep connection to Iranian cinema while also engaging in international collaborations. His ability to adapt to various storytelling styles and cultural contexts has made him a valuable presence in the industry. Beyond his professional work, Golbaharan has expressed a commitment to fostering greater understanding and empathy through his art, emphasizing the transformative power of storytelling in bridging cultural divides.
Shervin Esfandyari is a Canadian-Iranian actress, writer, and voice actor known for her role in the anthology film Papa Sierra. In addition to her work in the arts, Esfandyari holds a diverse professional background, including a BA in Clinical Psychology, an MBA, and certification as a medical aesthetician. She is also the founder and CEO a Medical Aesthetician Clinic in Canada.
Esfandyari was raised in a small family in Iran, where her interest in the arts began at a young age. She recalls an early fascination with theatre and piano, which were introduced to her through her family. However, her parents prioritized education, which limited her opportunities to cultivate her artistic talents during her formative years. It wasn’t until she immigrated to Canada that Esfandyari was able to fully explore her creative pursuits. This change in her life and moving away from her family, friends, and her job position gave her the opportunity and time to focus on acting and voice performance, which eventually led to her participation in the film Papasira.
Her breakout role in Papa Sierra showcased Esfandyari’s ability to navigate emotionally complex material. The anthology film, which intertwines three storylines of women affected by tragedy, explores themes of grief, resilience, and the human capacity for recovery. For her role, Esfandyari embraced significant challenges, including cutting her long hair, learning to smoke, and even mastering welding to bring authenticity to her character, Raha. These experiences underscored her commitment to her craft and the depth of her immersion in the role.
Esfandyari’s dual passions for psychology and the arts frequently inform her work. She emphasizes the importance of mental health and personal growth, themes that resonate in her performances. Reflecting on her role in Papa Sierra, Esfandyari highlighted the film’s focus on the survivors of tragedy, noting that their stories often go unexamined in the aftermath of large-scale events. Her academic background in clinical psychology added a nuanced understanding to her portrayal, as she explored themes of trauma, healing, and resilience.
While Esfandyari’s creative pursuits have brought her recognition, she also maintains a strong connection to her entrepreneurial endeavors. As the founder and CEO a Medical Aesthetician Clinic, she integrates her business acumen with a focus on enhancing well-being. This dual commitment to the arts and business underscores her multifaceted approach to personal and professional fulfillment.
Esfandyari’s work continues to span multiple disciplines, and she is committed to using her platform to advocate for love, connection, and understanding. On her aspirations for broader societal impact, she has expressed a simple yet profound vision: to “love each other.” It is a philosophy that encapsulates her belief in the transformative power of empathy and shared humanity.
Oksana Andrulis is a Canadian actress of Russian origin based in Australia, known for her diverse contributions to film and television both on-screen and behind the scenes. Born and raised in Russia, she nurtured an early fascination with storytelling and performance, which eventually led her to pursue formal education in the field. Andrulis graduated from Saint-Petersburg University of Cinema and Television in 2016 with a Bachelor’s degree in directing for film and television, an experience that also introduced her to acting.
In 2019, Andrulis relocated to Montreal, Canada, to advance her acting career. Since then, she has appeared in several film and television productions. Her notable credits include portraying Dr. Tergenev in the National Geographic series The Hot Zone: Anthrax (2021), a role that allowed her to explore the complex dynamics of a high-stakes bioterrorism investigation. In 2023, she appeared in two short films: as Julia in Squeezed and as Daria in RSVP, demonstrating her range and commitment to independent cinema.
Describing herself as a “people person,” Andrulis emphasizes the role of human connection in her life and career. Her journey has taken her from Russia to Canada, and now to Sydney, Australia, where she resides and continues to cultivate her craft. Reflecting on her global experiences, Andrulis has noted how each place has shaped her perspective, with Sydney now serving as her creative and personal home.
Andrulis’s work ethic and dedication are evident in her ongoing commitment to growth as an artist. She continues to train with acting coaches in Canada and the United States, seeking to refine her craft and push her boundaries as a performer. Her versatility and passion for storytelling are hallmarks of her career, as she navigates a landscape that spans acting, directing, and technical production.
Andrulis has spoken candidly about the inspirations that drive her. A chance interaction early in her career with actor Woody Harrelson, whom she describes as kind and encouraging, left a lasting impression. Harrelson’s words reminded her of the oft-repeated adage in theater and film: there are no small roles, only small actors. This philosophy continues to guide her approach, as she strives to find meaning and depth in every project she undertakes.
Andrulis is also drawn to stories that grapple with universal themes of grief, resilience, and hope. She has described her work as an exploration of why people persevere despite life’s challenges, emphasizing the importance of compassion and the human capacity to rebuild after loss. These themes resonate not only in her on-screen roles but also in her broader artistic outlook.
Yitzi: Thank you all so much for joining us. Before we dive in deep and talk about the movie, our readers would love to learn about each of your personal origin stories. So very briefly, I’ll ask each of you this question, and we’ll start with Krystina. Briefly, can you tell us the story of your childhood and how you grew up?
Krystina: Ah, that’s a good question. I’m from the west coast of Canada, originally. I’m from a town about an hour outside of Vancouver. It’s on a fjord, so it’s all woods and water. I was back there for Christmas, and on my last day — we had just finished an interview about this project — I went out and stood on the dock. I saw nine bald eagles — counted them.
Gosh, I’m not even sure it’s an origin story; it’s more like context. I feel very lucky to have grown up surrounded by and grounded in nature. Whenever I feel drained or lost — especially since I live in Toronto now — I know it’s time to go back to BC and be near the water. Sometimes, if I’m truly stressed, I imagine myself in the woods at night. They’re so old, and I think that, living in a city, I can sometimes get lost in other people’s stories.
The biggest gift of my childhood was growing up with the trees. They’ve given me such a deep connection to nature — the trees, the sky, the light. I don’t know if that’s the kind of story you’re looking for, but that’s where I come from.
Yitzi: Ali, how about you?
Ali: I grew up in an artist family. When I was a child, my dad would recite poems from famous Iranian poets to me while I was falling asleep. It was his way of connecting me to our history and culture, bringing the essence of back home to me and planting it in my mind and soul from a young age.
Some members of my family were artists — acting, writing, theater, cinema. I grew up surrounded by them, and in a family like that, just living in the house meant you were constantly breathing in the arts. It’s almost impossible not to be involved.
Also, my childhood was spent in a unique setting. Because of my dad’s job, we lived in an area with just 14 houses, a mountain in front of me, and meadows all around. It was full of nature. I think that when you’re a child in a place like that, you have time — time to think, time to connect with nature, and time to connect with everything around you. There’s no constant pressure to work or overthink or rush through life. Because of all that, I feel like I was chosen to be an artist from the time I was a child.
Yitzi: Beautiful. Thank you for sharing that, Ali. Thank you. How about you, Oksana? What’s your origin story?
Oksana: I’m from Russia, but I’ve lived in Canada, and now I’m in Sydney.
I grew up in a small neighborhood, and I remember my sister learning poems when I was about three years old. I would just sit there listening, and before I knew it, I could recite the whole poem myself. I’ve always been drawn to stories, whether through books, films, or the people around me — I was constantly soaking it all in.
I believe I’m a people person. Having lived in Russia, then Canada, and now Sydney, I feel like home is deeply connected to the people around me.
Yitzi: That’s beautiful. Thank you for sharing, Oksana. How about you, Shervin?
Shervin: First of all, thank you so much for the invitation.
I grew up in a small family in a rural part of Iran. I remember being interested in various forms of art, like theater, acting, and especially playing the piano, which was introduced to me through my family. But honestly, for my parents — especially my mother and father — it was very important to focus solely on education. Because of that, I didn’t have many opportunities to develop my artistic talents, particularly during my teenage years.
As I got older, though, I realized it wasn’t too late to explore my passion for the arts, especially after I immigrated to Canada. Living alone, away from my family, gave me the time and space to focus on myself and my interests. I started by attending voice acting classes and theater workshops, and those experiences really opened doors for me. Eventually, I was fortunate enough to land a role in this movie.
So, that’s how my journey into the arts began.
Yitzi: Okay. Here’s our next question. Each of you probably have so many amazing experiences, so many amazing stories. Ali, can you share one story that stands out the most in your professional career, your professional life?
Ali: That’s an easy and hard question, you know. If you want to talk about something, there are so many stories. But if you have to choose just one, it’s very hard.
I was acting in a film back in Iran, and the production there is not always very organized. Things aren’t always as well-prepared, sometimes because of the budget or other limitations. But for big productions, like in Canada or other countries with similar resources, everything is very professional. Everything is ready, and there are rules and systems to protect the actors. For example, if you’re filming in winter, there are measures to keep the actors safe and warm. Back home, it wasn’t like that.
So, I was working on what we called a “big project” in Iran. It was about the war between Iran and Iraq from 20 or 30 years ago, and it was a very emotional and powerful story. I was really excited because the director was famous, and it was my first time working with someone at that level.
Before we started filming, they told me, “Don’t cut your hair for six months.” So, for six months, I didn’t touch my hair — no haircut, no grooming, nothing. Then, two weeks before shooting, I got injured while boxing at the gym. My hand got badly hurt, but I didn’t tell anyone because I was so determined to stay in the film. I wanted to give it my all.
We were filming in the mountains, and the story was set in the summer, but in reality, it was winter. So, we were out there wearing just shirts, pretending it was warm, even though it was freezing. After the director yelled “cut,” we’d rush to warm ourselves by a heater or something. I was in so much pain from my injury, but I didn’t tell anyone.
Every night after filming, when I went to change my clothes, I’d cry because of how much my hand hurt. But I kept it to myself because I was scared. I thought, “If they find out I’m injured, they might fire me and replace me with someone else.”
Eventually, the director’s son found out what had happened. He came up to me and said, “Hey, man, why didn’t you tell us you were injured? You’re out here doing all these action scenes — shooting, running, everything — while in pain.” I told him, “I just really wanted to be part of this project. I was afraid that if you knew I was hurt, you’d replace me.”
For me, that experience was very special. I don’t know if it’s the same for other people, but it really stands out in my mind.
Yitzi: Oksana, can you please share a story that most stands out in your mind from your professional life?
Oksana: When I first started acting, I had the chance to work as an extra on a very well-known film starring Woody Harrelson. My role was small — just a face in the background — but there was one moment on set that left a lasting impression.
In one scene, I was dancing with another actor, and Woody was nearby watching. After the scene, he came over and spoke to us. What struck me most was how genuine and encouraging he was, even to someone like me, just starting out. His kind words weren’t just a compliment; they felt like a little push to keep going and to believe in myself.
It reminded me of something often said in theater and film: there are no small roles, only small actors. That brief interaction with Woody made me realize that no matter where you are in your journey, even the smallest moments can spark something big.
And now, sitting here with you, talking about this movie we created together, it all feels so meaningful. We’re all part of this journey as creators, supporting each other and sharing our work with the world.
I’m so grateful to be here today. Thank you for giving me this opportunity to share.
Yitzi: How about you, Shervin?
Shervin: Honestly, I think answering your question is a bit hard for me, but I’ll tell you a short story from my school days.
When I was in school, we performed a short play about animals, and my role was the cow. I remember during the performance, the electricity went out at the school, and all of the students forgot their lines. In that moment, I decided to improvise and add some dialogue to keep the play going.
After we finished the play, I was nervous because I thought my teacher wouldn’t approve of what I did. But to my surprise, she was very satisfied. She even praised me for my confidence and my ability to keep going, especially since my friends had forgotten their lines. That experience stayed with me — it taught me how to adapt and stay calm under pressure.
Now, if I think about something more recent, I’d point to Papa Sierra. That film brought its own challenges. For example, I had to cut my long hair, which I’d had for a very long time and was very attached to. But for the role, I had to do it — it was necessary for the character.
I also had to learn to smoke for the film, which was tough for me because in real life, I don’t like smoking at all. And on top of that, I had to learn welding because it was very important to the director that my character, Raha, knew how to weld properly. So, between those school memories and the challenges I’ve faced in my professional work, these moments stand out for me.
Yitzi: Krystina, we can’t wait to hear yours.
Krystina: Well, I didn’t learn how to weld — it’s not in my near future, at least!
For me, a really meaningful career experience — one of many, including this film and getting to work with this beautiful team of deeply kind human beings — happened in 2021. That year, I did a workshop for a musical adaptation of The Master and Margarita, which is a novel by Bulgakov.
I actually started off in musical theater when I was a teenager. I got into acting through singing, and then I discovered Shakespeare. After that, I went to the National Theatre School and sort of stopped singing in front of people, focusing entirely on straight drama instead.
In 2021, during that brief window between stay-at-home orders and lockdowns, a really incredible team I had worked with on another play invited me to join this workshop for The Master and Margarita at Crow’s Theatre. I taped my audition, booked it, and found myself back in a rehearsal room.
It was such a profound experience for a few reasons. First, getting to sing again felt like rediscovering a part of myself that had been lost for a very long time. And second, being in a theater, making art with other people during a time when it felt like that might never happen again, was incredibly moving.
I remember one of the other actors saying, “I thought maybe we’d be able to make theater again at some point, but I thought I would be dead by then.” That really stuck with me. Even as we rehearsed, we were all just praying no one would get COVID. When we had public showings, the audience members were spaced two seats apart.
One particularly special moment came from a conversation with the arranger, who wrote the score to Cuphead, which so many people love. He told me that there were two moments in the production that he would stop and listen to, and one of those moments was mine.
I was playing a female version of the poet who meets the devil, goes a bit mad, and ends up incarcerated with the Master. There’s a scene where my character confesses to being a coward. Every night, I would turn to the audience and speak about my shame, my fear of not being brave enough. The arranger told me that moment moved him every time.
It was deeply gratifying to hear that because it was a vulnerable moment to embody; sometimes I’d think: No-one could want to see this part of me. I think it’s rare to have the opportunity to openly express those feelings — shame and fear — about not being brave enough. It’s something a lot of people feel but rarely talk about.
Another actor, Eric Da Costa playing Matthew Levi, had a similar moment where his character admitted to the shame of failing his friend. I would wait for that moment myself, because as an actor he was wide open. It was just such a deeply connective, human experience for everyone involved.
Yitzi: Amazing. Thank you so much for sharing that. So let’s talk about Papa Sierra. I was wondering if each of you could talk about your roles in the film, the character that you play, and why you think everyone needs to watch this film. I guess we could start with Krystina.
Krystina: So, I play — well, the film is made up of three short films or three storylines that intertwine — all about women impacted by the tragedy. They’ve all lost someone. I play Emily in what I think is the first segment chronologically, though it might not be — I haven’t seen the final edit.
Emily has lost her husband, Yusuf, and she’s struggling in her grief to accept it. She’s still in a state of denial. Without spoiling too much, she’s looking for him.
I think this is an important film for everyone to see because it’s deeply human. It takes an event that’s international and political in scope and narrows it down to the intimate, personal experience of grief.
I believe this film conveys grief in a way that doesn’t try to explain it to the audience. Instead, it allows them to feel it — physically. In my experience, grief is so wordless. As soon as you try to explain it, you’re a step removed from it. For me, when I’ve been grieving, my entire way of communicating has changed.
This film captures that. There are visceral, emotional moments that exist within a poetic framework. I actually found it very Persian in its approach — it suggests rather than tells, leaving space for the viewer to have their own experience.
Yitzi: Ali, how about you? Can you talk about your character and why you think we have to watch this film?
Ali: I play Yusuf. You know, I co-wrote the script with Arash, the director. We wrote it together. But honestly, it was really hard for me to find Yusuf as a character. There was a long process for me to connect with him.
Do you know why? Because Yusuf doesn’t exist. He’s not physically present, but at the same time, he’s real. I had to act as someone who isn’t there but still feels real. It was very challenging to balance those two aspects — showing something that’s not real but making it feel tangible and alive.
This experience was incredibly unique for me as an actor. It was my first time acting alongside Canadian actors, like Krystina. It was such an honor to work with her on this film. And there were other amazing actors, too, like Oksana and Rebecca. Rebecca Lomarsh was the lead in another segment of the anthology.
For me, coming from the Middle East, it was a challenge to adjust my acting style to match theirs. Acting in this kind of environment, with this group of professionals, required me to level up and find a balance in my performance. It was a new challenge to make sure my approach aligned with theirs, but it was also an exciting opportunity to push myself and see how I could adapt.
I have to say, Krystina, Oksana, and Rebecca are all incredibly talented. They’re true professionals who know exactly what they need to do. Working with them made this a very special experience for me.
As for the audience, I want to say that this film is about love, sacrifice, and humanity. I think a lot of people watch movies to laugh, to feel happy, to be entertained — and that’s important. But this film is different. It’s a tragedy. It shows the real side of our world.
I believe if people take the time to watch it, they’ll find meaning in it. It’ll make them reflect on the value of their families and the people they love. It’s a reminder to cherish those connections, maybe even more than they did before.
Yitzi: Oksana, how about you? Tell us about the character you play and why we have to watch it.
Oksana: My character plays a pivotal role in supporting the others. She’s there to help them grow, to guide them through their journey, and to encourage them as they search for a way to begin anew. But by the end of the story, she learns an important lesson herself: that healing and grief take time, and that’s okay.
At its heart, this film is about compassion. It delves into the complexities of navigating grief and wrestles with profound questions — ‘Why should I start over? Why should I live this life again? What’s the reason to wake up each morning?’ It’s an exploration of those moments when hope feels distant, but it reminds us that it’s always there, waiting to be found.
Yitzi: Thank you so much. Shervin, how about you? Please tell us about your character and why we have to watch the film.
Shervin: Papa Sierra is a gentle and deeply human screenplay. It focuses on a painful event, but what stood out to me — and what led me to choose this role — is the writers’ vision.
The writers made the decision to focus on the survivors, which I found incredibly important. In reality, much of the attention after tragedies is placed on those who passed, while the survivors are often overlooked. That perspective really drew me in.
This focus on survivors resonated with me, especially because of my academic background in clinical psychology. When I read the screenplay, I could see how the writers wanted to address mental health issues — things like not having enough time to grieve, depression, anxiety, and even the lack of resources available to survivors.
These themes are very meaningful to me because they highlight some of the darker, often ignored aspects of such tragedies. I think they’re vital conversations to have, and this film brings those issues to light.
Yitzi: Amazing. So this is our final question. We ask this to all of our interviewees.
Because of your great work and the platforms that you’ve built, each of you, every one of you are people of enormous influence. If you could spread an idea or inspire a movement that would bring the most amount of good to the most amount of people, what would that be? Krystina, we start with you.
Krystina: If I could embody and help spread a movement, I think it would be one of presence with other human beings and unconditional love. Not in a sentimental way, but in a human-to-human sense of, “I see you, and you see me in this moment.”
It would be about loving and respecting each other with decency.
Yitzi: Ali, the same question for you: If you could spread an idea or inspire a movement that would bring the most amount of good to the most amount of people, what would that be?
Oksana: Life doesn’t always go as planned, and we all face challenges that can feel overwhelming. But there’s always hope. The ability to pick up the pieces, rebuild, and keep moving forward is one of the most incredible things about being human. It’s not easy, but it’s powerful — and it’s something I believe we should all strive to inspire in others.
Yitzi: Shervin, how about you?
Shervin: To me its to love together.
Yitzi: Ali, how about you?
Ali: So, I don’t want to say big words. I just want to say something simple.
Freedom, justice, and peace — they’re simple ideas, but they have very deep meanings. If we truly love each other, we can find them.
I hope and wish for everyone in the world to put themselves in someone else’s shoes, to understand, to feel what others feel, and to love one another. If we can do that, we can make this world a better place.
Yitzi: I want to thank each of you for these profound answers, and I’m sure we could have spoken for another hour about this, but I want to respect your time. How can our readers watch the film? How can they continue to follow each of your work?
Krystina: They can follow me on Instagram — I update under @krystinabojanowski .
I also have a website: www.krystinabojanowski.com.
I’ll be appearing in two projects coming up later this year: an Amazon show, and a Disney+ movie that will be out around Christmas.
Ali: On Instagram, under my first and last name: Ali Gul Baharon.
As for Papa Sierra, there’s an IMDb page they can check out.
Oksana: I also have an IMDb page: www.imdb.org. Everyone is welcome to check it out!
Shervin: Instagram: shervin.spandiary. My email address is [email protected].
And for Papa Sierra, please check out my IMDb page.
Yitzi: Thank you all so much for your time. It’s really been a joy and an honor to meet you. I hope we can do this again another time.
Rising Stars Krystina Bojanowski, Ali Golbaharan, Shervin Esfandyari, and Oksana Andrulis, of ‘Papa… was originally published in Authority Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.