After a Bachelor’s Degree with a major in theatre and some acting performances at the Maison de la culture in Bourges, Suliane Brahim studied at the Institut national des langues et civilisations orientales in Paris. In 1996, Martine Logier directed her in Yasushi Inoué’s The Hunting Gun (Le Fusil de chasse) at the Comédie de Saint-Étienne. Two years later, she joined the École nationale supérieure des arts et techniques du théâtre (National Higher School for Performing Arts and Techniques– ENSATT), where she was trained by Jerzy Klesyk who casted her afterwards for Howard Barker’s The Possibilities staged, in 2000, at the Théâtre de la Tempête. While Thierry de Peretti entrusted her with playing Marie in Bernard-Marie Koltès’s The Return to the desert at the Théâtre de la Bastille, Philippe Adrien saw her as Angélique in his staging of Molière’s The Imaginary Invalid. In 2007, she played in Marina Tsvetaeva’s The Guy (Le Gars) directed by Vladimir Pankov at the Meyerhold Center in Moscow. François Orsoni with whom she had already worked, first in 2005 on Olivier Py’s play La Jeune Fille, le diable et le moulin and then in 2006, on Léa Doher’s Barbe-Bleue, espoir des femmes, directed her, in January 2009, in Bertolt Brecht’s Hans in Luck at the Théâtre de la Bastille.
Suliane Brahim has been a pensionnaire of the Comédie-Française since 2009 and was named its 529th sociétaire in 2016. She made her début playing Élise in Molière’s The Miser as staged by Catherine Hiegel. Anne-Laure Liégois directed her in Suzane Lebeaux’s The Sound of Cracking Bones (Le bruit des os qui craquent) as well as in Carine Lacroix’sBurn Baby Burn. She worked under the direction of Galin Stoev in Corneille’s L’Illusion comique and in Marivaux’s The Game of Love and Chance (Le jeu de l’amour et du hasard). Yves Beaunesne entrusted her with playing Rosette in Alfred de Musset’s Don’t Trifle with Love (On ne badine pas avec l’amour) and Jean-Pierre Vincent with Elvire’s part in Molière’s Dom Juan or The Feast With The Statue.
Though often associated with a classical répertoire, Suliane Brahim also enacted in contemporary plays such as Marguerite Duras’s The Malady of Death by Muriel Mayette-Holtz, Eduardo de Filippo’s Grand Magic by Dan Jemmett, Jean-Luc Lagarce’s J’étais dans ma maison et j’attendais que la pluie vienne by Chloé Dabert whom she already worked with on Lola Lafont’s Nadia C.
Denis Podalydès asked her to play Gennaro’s part in his staging of Victor Hugo’s Lucrezia Borgia. After directing her in Ibsen’s Peer Gynt, Éric Ruf entrusted her with playing the female lead in Shakespeare’s Romeo and Juliet, an author she had already played in A Midsummer Night’s Dream under the direction of Muriel Mayette-Holtz. In 2014, Suliane Brahim sung at The Cabaret Barbara, a show put together by Béatrice Agenin based on lyrics by the famous French singer.
She accompanies the Paris Mozart Orchestra reading Orfeo composed by Silvia Colasanti.
In the cinema, Suliane Brahim appeared in Yann Coridian’s Nuts (Ouf), Benjamin Guedj’s Nice and Easy (Libre et assoupi), Yamini Lula Kumar’s Doutes: Chronique du sentiment politique. For the television, she shot We Can’t Go On Like This (Ça ne peut pas continuer comme ça) under the direction of Dominique Cabrera, Just Love (Que d’amour) after Marivaux’s work under the direction of Valérie Donzelli. Since 2017, Suliane Brahim is known for her interpretation of Laurene Weiss in the crime series Black Spot (Zone Blanche).