Meeting Mohamed Zouaoui, you are immediately struck by a stillness that feels rare in today’s industry. There isn’t a trace of self-celebration; instead, he carries the quiet precision of someone who has built an international career brick by brick. While 2026 sees him in the spotlight with major global productions and the hit comedy L’appartamento – Sold Outon RaiPlay, we met for a conversation.
The Globo d’Oro winner, with over 62 professional credits on IMDb, continues to bridge the gap between European and Hollywood cinema.
Q: I recently caught up with Catharsys (2018). Even years later, the film’s visual harshness and the isolation of your character, Jamal Afina, are still incredibly striking. Looking back at it today, what do you think remains of that extreme experience in your approach to acting?
A: That film was a turning point. Jamal Afina was a character stripped of everything, and that experience taught me that acting is often about what you take away rather than what you add. Even today, on much larger sets—including my recent work on Julian Schnabel’s “In the Hand of Dante”—I carry that sense of “survival” with me. It reminds me to keep the work raw and honest. At this stage of my life, I prefer to wait for projects that truly have a soul—otherwise, I choose silence.
Q: From that gritty isolation to the lead role of Osama in L’appartamento – Sold Out on RaiPlay, you’ve recently shown a much lighter, comedic side. Was it a conscious decision to shift towards comedy?
A: It wasn’t about seeking a “lighter” career, but about finding a different kind of truth. Osama is a character that breaks clichés through irony. Comedy is incredibly technical; you can’t fake the timing. After so many dramatic roles, it was refreshing to use humor to connect with the audience.
Q: You recently played Joachim in The First Christmas in Ouarzazate. What was it like filming a winter story in the 45-degree heat of the Moroccan desert in July?
A: It was a test of endurance. Filming a Christmas story in those conditions requires massive mental discipline. Working on such a large scale—with hundreds of extras and epic locations—was a masterclass. You realize how many moving parts have to align perfectly to create that kind of cinematic magic under pressure. It’s a project that brings my work to global audiences.
Q: The project is famously presented and narrated by Kevin Costner. What was it like sharing the credits with such a Hollywood icon?
A: (Laughs) To be honest, it was like chasing a ghost! Since he filmed his parts as the host in America, and we were on the ground in the Moroccan heat for the production of The First Christmas, none of us actually saw him. We were all there in 45 degrees, waiting and hoping, but he was the most famous ghost on set. It’s the irony of modern cinema.
Q: Beyond the sets, who is Mohamed when the cameras are off? What would you do tomorrow if you had a completely free day?
A: I’m a man of simple habits. If I have a day off, I don’t want to talk about cinema (laughs). You’ll find me by the sea, doing sports outdoors, and listening to real music. Having been featured in international outlets like Elucid Magazine in NYC, I’ve learned that a certain distance protects the work. For me, the greatest luxury is just being myself, away from the noise.
Follow Mohamed Zouaoui’s journey on Instagram.
