{"id":162315,"date":"2025-11-02T15:00:18","date_gmt":"2025-11-02T14:00:18","guid":{"rendered":"https:\/\/www.apartamentomagazine.com\/?p=162315"},"modified":"2025-10-31T14:03:23","modified_gmt":"2025-10-31T13:03:23","slug":"the-mime-zouzouby-lina-soualem","status":"publish","type":"post","link":"https:\/\/www.apartamentomagazine.com\/stories\/the-mime-zouzouby-lina-soualem\/","title":{"rendered":"The Mime Zouzou<\/br>by Lina Soualem"},"content":{"rendered":" \t\t
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\n\t\t\t\tTo access this post, you must purchase Apartamento Membership<\/a><\/span>.\t\t <\/div>\n\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"\n
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\n\t\t\t\tTo access this post, you must purchase Apartamento Membership<\/a><\/span>.\t\t <\/div>\n<\/p><\/div>\n","protected":false},"author":20246,"featured_media":162358,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[49],"tags":[],"class_list":["post-162315","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essay","text_author-lina-soualem","film_author-marius-muller","membership-content","access-restricted"],"acf":{"link_archive":false,"archive_story":null,"archive_bg":"#F5F4EE","archive_title_color":"#000000","cover_bg":"#000000","cover_title_color":"#ffffff","body_bg":"#000000","body_text_color":"#ffffff","body_captions_color":"#000000","related_bg":"#ffffff","related_text_color":"#000000","stories_bg":"#EDECEC","alternative_image":"","hover_image":"","credits":"","title_format":"center","font_size":"medium","image_format":"regular","hero_image_mobile":162316,"video":"","video_excerpt":"","video_format":"regular","content":[{"acf_fc_layout":"two_blocks","block_sizes":"half_40_60","content_type_left":"credits","image_size_left":"regular","image_left":null,"video_left_url":"","video_caption_left":"","video_left_type":false,"text_left":"","credit_image":164522,"credit_link_left":{"title":"Click here to order your copy!","url":"https:\/\/www.apartamentomagazine.com\/product\/issue-35-apartamento-magazine\/","target":"_blank"},"content_type_right":"text","image_size_right":"regular","image_right":"","video_right_url":"","video_caption_right":"","video_right_type":false,"text_right":"Originally published in <\/i>Apartamento magazine <\/i>issue #35<\/i><\/a>. Lina Soualem is a director and actress born in Paris. She has directed two feature-length documentaries, <\/i>Leur Alg\u00e9rie (2020) and <\/i>Bye Bye Tib\u00e9riade (2023), the latter of which was chosen to represent Palestine at the 2024 Oscars and was nominated in the Best Documentary category at the 2025 C\u00e9sars.<\/i>\r\n\r\nZinedine, my father, became a street mime at the age of 18. His artist name was the Mime Zouzou.\r\n\u2018I only wore dungarees and striped sweaters at that time\u2019, he once told me. Other than that, the only memory he shared with me was travelling from France to Peru for three months to do street mime. How did he end up there? Apparently, he\u2019d met a Peruvian mime in France who convinced him to go to Peru with him. At the time, my father travelled with his Algerian passport, and the Peruvian officials didn\u2019t know what Algeria was, so they held him for hours. At some point, they took out a map of the USA and asked him: \u2018\u00bfD\u00f3nde est\u00e1 Argelia?\u2019 (\u2018Where is Algeria?\u2019), thinking it was a state they had never heard of. I picture a young 18-year-old Algerian mime, taking a plane for the first time, crossing the Atlantic for the first time, sitting in an immigration office in Lima\u2019s airport in Peru, facing a map of the USA, a country he\u2019d never visited, holding his Algerian passport, not speaking a word of Spanish, being asked repeatedly:\r\n\u2018\u00bfARGELIA? \u00bf\u00bfD\u00d3NDE?? \u00bf\u00bf\u00bfD\u00d3NDE???\u2019\r\nZinedine\u2019s parents, A\u00efcha and Mabrouk, immigrated from Algeria to France in the early \u201850s, not by choice, but to work as cheap labour in French factories. My grandfather worked in a knife factory for decades: \u2018I worked undeclared\u2014we did prisoners\u2019 work\u2019. He remembers his French colleagues telling him: \u2018We brought you here to help out\u2014not to earn more than us\u2019.\r\nMy grandparents came as colonised subjects of France, stripped of their Algerian identity and deprived of their rights. The French colonised Algeria starting in 1830, and they considered it to be a department of France, under colonial rule. They considered it theirs.\r\nZinedine was born in France in 1957. In this context, he was born as a colonised subject of the French colonial empire. Five years later, in the summer of 1962, the Algerians finally gained their independence from France following 132 years of colonisation and eight years of a brutal war. A war that killed many members of my family.\r\nAt age five, Zinedine stopped being a colonised subject and gained his Algerian citizenship. A citizenship that was obtained by force, after a hard struggle for liberation.\r\nAs a child, he thought (he hoped!) they could go back home, but they never did. <\/strong>"},{"acf_fc_layout":"image","image_size":"regular","gallery":[162342]},{"acf_fc_layout":"text","text":"My father is part of the first generation of immigrant children born on French soil. During his whole childhood, his immigrant parents always told him they\u2019d return to Algeria as soon as it became independent. Yet they never went back and never explained to him why.\r\nMy father inherited this silence; is this why he became a mime?\r\nI inherited this silence as well; is this why I started making films?\r\nI can hear my voice insisting: I come from a generation that grew up in the deafening silence of the Algerian War of Independence, a generation born to grandparents who seemed to have \u2018no story\u2019, to grandparents who were terribly silent, incapable of telling and transmitting a paradoxical itinerary. Born colonised in \u2018French Algeria\u2019, foreigners on their own soil, they were obliged to move to France to work. The immigration of Algerians in France was lived as a supposed temporary exile. After having fought for the independence of Algeria for decades, and after working tirelessly in France in the hope of one day returning home, they finally settled in a country that had colonised them and denied them the right to be independent. The eventual return was postponed indefinitely for unconfessed reasons (economical and political). This generation of immigrants built a life based on the mystification of a never-realised return and silence.<\/em>\r\nIn my first film, Their Algeria<\/em>, I ask my grandparents to break this silence in order to understand my family\u2019s story, to give them back their place in History and to enable all of us to reclaim our memory. But they give me only glimpses. As I try to awaken the buried memory of their longstanding exile, I discover the persistent suffering of their uprooting. An uprooting they can\u2019t put into words, one they never overcame.\r\nI was raised in Paris, born to an Algerian father and a Palestinian mother born in Galilee. When I was a kid, my mother made sure to take me to her native Palestinian village every summer to visit our family. During those trips, my father always had a camcorder and filmed compulsively as he was discovering the land, its people, and his new family.\r\nIn the images he filmed in the \u201890s, we travel through a millennia-old territory: Nazareth, Golan Heights, Akka, Jericho, Jerusalem, and Gaza. Some of these territories have been transformed or made inaccessible, and some have been completely destroyed or partially erased.\r\nI grew up with these ghosts of images.<\/strong>"},{"acf_fc_layout":"image","image_size":"regular","gallery":[162359]},{"acf_fc_layout":"text","text":"Coming across these VHS tapes from the \u201890s was like meeting a character. They opened the door to a forgotten world of everyday life, places, and beings. These scattered, disorganised images that my father filmed were lying there for decades, without spectators, patient. Until I found them.\r\nI scrutinised them, wanting to decipher them. They were the memory of a lost time, of people long gone, of lost happiness, telling our intimate and collective stories, tracing the dark periods that were behind us\u2014or not quite yet.\r\nFor a long time, I didn\u2019t know what to do with them, apart from looking at them obsessively.\r\nJust as with silence, archives only have meaning if they have a witness.\r\nAs the heir of silence, I became their witness.\r\nThese personal archives became the starting point for my documentaries: Their Algeria<\/em> and Bye Bye Tiberias<\/em>, my second film, which narrates the lives of four generations of Palestinian women in my maternal family and explores their shared legacy of separation.\r\nThrough my films, I\u2019ve sought to extract the soul of these archival images, to resurrect them.\r\nHowever, there\u2019s a character that I somehow left behind in both films: the man behind the camera. My father. The Mime Zouzou. A young Algerian immigrant. The one who filmed and asked to be filmed. An Algerian in Palestine who sought to capture and leave a trace.\r\nAs I look at the footage, among the images of a dislocated Palestine made of bucolic landscapes, arid panoramas, groups of soldiers, barbed wire, beautiful green hills, olive trees, checkpoints, a wall, closed borders, street weddings, and family celebrations, I suddenly see a young man appear, facing the camera.<\/strong>"},{"acf_fc_layout":"image","image_size":"regular","gallery":[162353]},{"acf_fc_layout":"text","text":"It\u2019s Zouzou coming in and out of the frame, staging himself\u2014sometimes disguised as a woman or a clown, miming those around him, trying to make people laugh. Conscious of the camera pointed at him. Acting a role: the role of a strange, young man, an intruder coming from elsewhere who seeks a place for himself and a way to be accepted by those around him through laughter.\r\nAlthough I know my father\u2019s background story, I can\u2019t help but see this young version of him as a fictional character. Who is this man? How can he bring the burlesque to a territory marked by war, destruction, loss, and tragedy? How does he allow himself to be light?\r\nIn the middle of the crowd, he carries exile like a burden. A spatial and temporal exile. Far from his land and disconnected from the world he\u2019s discovering, we see him performing. We are submerged in his silence. We feel his loneliness. But he makes us laugh.\r\nI can\u2019t find the words to describe him. What is he?\r\nIs he a light, joyful being, navigating through territories as a chameleon?\r\nIs he a dysfunctional body, carrying a heavy trauma, calling out for help?\r\nSome say an exiled person lives suspended in time and always remains affected by having been uprooted. Exile as a sense of loss seems almost palpable.\r\nI look for traces of this exile in Zinedine\u2019s silent gestures.<\/strong>"},{"acf_fc_layout":"two_blocks","block_sizes":"half_50_50","content_type_left":"image","image_size_left":"regular","image_left":162352,"video_left_url":"","video_caption_left":"","video_left_type":false,"text_left":"","credit_image":null,"credit_link_left":null,"content_type_right":"image","image_size_right":"regular","image_right":162351,"video_right_url":"","video_caption_right":"","video_right_type":false,"text_right":""},{"acf_fc_layout":"text","text":"Through his character, he creates an imaginary territory, beyond physical borders.<\/strong>\r\nHe blends distant worlds. An Algerian mime in Palestine. An ex-colonised body performing in an occupied territory. An exiled being travelling around. He\u2019s countering the drift of internal exile, as an Algerian immigrant in France, who neither grew up nor lived in Algeria.<\/strong>\r\nAs I look closer at the way the young Zouzou moves around the territory and among the people in the images, I witness how a body struggles to exist in a context that doesn\u2019t seem to allow laughter.<\/strong>\r\nLaughter becomes his resistance strategy.<\/strong>\r\nA personal strategy for existence.<\/strong>\r\nJoy comes as a counterpoint.<\/strong>\r\nFinally, he is a political character who allows us to reflect on the ways we resist uprooting and exile.<\/strong>\r\nAlthough his gaze is one of a stranger, an intruder, what he captured through filming and bringing to life his burlesque being becomes essential in a context in which we lack historical footage as Palestinians. His images give visibility to intimate memories that echo the collective memory of people dispossessed of their rights and constantly bound to reinvent themselves in exile. Each image becomes proof of a denied existence. Algerians. Palestinians. Uprooted. Exiled. Resisting. Existing. A people in need of leaving a trace. People fighting against vanishing into oblivion.<\/strong>"},{"acf_fc_layout":"image","image_size":"regular","gallery":[162316]},{"acf_fc_layout":"text","text":""}],"related_text":"","issue":"","button_text":""},"yoast_head":"\nThe Mime Zouzou by Lina Soualem — Apartamento Magazine<\/title>\n<meta name=\"description\" content=\"The Mime Zouzou by Lina Soualem originally published in Apartamento magazine issue #35. Lina Soualem is a director and actress born in Paris. 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She has directed two feature-length documentaries, Leur Alg\u00e9rie (2020) and Bye Bye Tib\u00e9riade (2023), the latter of which was chosen to represent Palestine at the 2024 Oscars and was nominated in the Best Documentary category at the 2025 C\u00e9sars.","og_url":"https:\/\/www.apartamentomagazine.com\/stories\/the-mime-zouzouby-lina-soualem\/","og_site_name":"Apartamento Magazine","article_publisher":"https:\/\/www.facebook.com\/apartamentomagazine","article_published_time":"2025-11-02T14:00:18+00:00","og_image":[{"width":1125,"height":1500,"url":"https:\/\/www.apartamentomagazine.com\/wp-content\/uploads\/2025\/08\/IMG_3608.jpg","type":"image\/jpeg"}],"author":"Laura Delgado","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Laura Delgado","Estimated reading time":"9 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.apartamentomagazine.com\/stories\/the-mime-zouzouby-lina-soualem\/#article","isPartOf":{"@id":"https:\/\/www.apartamentomagazine.com\/stories\/the-mime-zouzouby-lina-soualem\/"},"author":{"name":"Laura Delgado","@id":"https:\/\/www.apartamentomagazine.com\/#\/schema\/person\/2e24e5aca92f9d8c1b169d3fc95d239f"},"headline":"The Mime Zouzouby Lina Soualem","datePublished":"2025-11-02T14:00:18+00:00","mainEntityOfPage":{"@id":"https:\/\/www.apartamentomagazine.com\/stories\/the-mime-zouzouby-lina-soualem\/"},"wordCount":5,"commentCount":0,"publisher":{"@id":"https:\/\/www.apartamentomagazine.com\/#organization"},"image":{"@id":"https:\/\/www.apartamentomagazine.com\/stories\/the-mime-zouzouby-lina-soualem\/#primaryimage"},"thumbnailUrl":"https:\/\/www.apartamentomagazine.com\/wp-content\/uploads\/2025\/08\/IMG_3608.jpg","articleSection":["essay"],"inLanguage":"en-GB","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.apartamentomagazine.com\/stories\/the-mime-zouzouby-lina-soualem\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.apartamentomagazine.com\/stories\/the-mime-zouzouby-lina-soualem\/","url":"https:\/\/www.apartamentomagazine.com\/stories\/the-mime-zouzouby-lina-soualem\/","name":"The Mime Zouzou by Lina Soualem — Apartamento Magazine","isPartOf":{"@id":"https:\/\/www.apartamentomagazine.com\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.apartamentomagazine.com\/stories\/the-mime-zouzouby-lina-soualem\/#primaryimage"},"image":{"@id":"https:\/\/www.apartamentomagazine.com\/stories\/the-mime-zouzouby-lina-soualem\/#primaryimage"},"thumbnailUrl":"https:\/\/www.apartamentomagazine.com\/wp-content\/uploads\/2025\/08\/IMG_3608.jpg","datePublished":"2025-11-02T14:00:18+00:00","description":"The Mime Zouzou by Lina Soualem originally published in Apartamento magazine issue #35. Lina Soualem is a director and actress born in Paris. 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