At just 25, Tunisian-French filmmaker Kenz Benmosbah has carved out a career that moves as fluidly across borders as her stories do. From Tunis to Paris to Los Angeles, she’s built a body of work that connects Oscar-nominated projects, prestigious festivals, and an upcoming feature debut poised to resonate across continents.
Benmosbah began her career at the Manarat Film Festival in Tunis, working under acclaimed producers Dora Bouchoucha (an Academy member and leading figure in Tunisian cinema) and Lina Chaabane. Their mentorship introduced her to the Mediterranean film network and set the foundation for her international collaborations.
Soon after, she joined the team behind Portrait of a Lady on Fire, the 2019 Cannes Film Festival Best Screenplay winner and one of the most celebrated French films of the decade. Managing the film’s international press campaign was a crash course in European cinema at its highest level, opening doors to new partnerships.
The producers connected Benmosbah with Nadim Cheikhrouha who eventually hired her on Kaouther Ben Hania’s Four Daughters (Les Filles d’Olfa). The documentary earned an Academy Award nomination for Best Documentary Feature in 2024 — only the second Oscar nomination in Tunisia’s history.
Benmosbah’s transcontinental journey continued when she was accepted into the American Film Institute Conservatory, one of the world’s most competitive film schools (acceptance rate ~1%). Fast forward, Kenz is now settled in Los Angeles after graduating AFI as the youngest of her class.
Her debut feature, I Think She Hates Me, is in active development following the successful completion of a proof-of-concept short produced with a multinational team of AFI collaborators.
A dual-timeline romantic comedy, the film explores the chaos of first heartbreak with humor, raw honesty, and emotional depth. Its cross-cultural foundation has already drawn interest from producers in Los Angeles and Paris, reflecting Benmosbah’s ability to balance intimate storytelling with global reach.
At a moment when Hollywood is rethinking identity and storytelling, she stands out not by chasing permission, but by creating work that resonates across borders.
At just 25, Tunisian-French filmmaker Kenz Benmosbah has carved out a career that moves as fluidly across borders as her stories do. From Tunis to Paris to Los Angeles, she’s built a body of work that connects Oscar-nominated projects, prestigious festivals, and an upcoming feature debut poised to resonate across continents.
Benmosbah began her career at the Manarat Film Festival in Tunis, working under acclaimed producers Dora Bouchoucha (an Academy member and leading figure in Tunisian cinema) and Lina Chaabane. Their mentorship introduced her to the Mediterranean film network and set the foundation for her international collaborations.
Soon after, she joined the team behind Portrait of a Lady on Fire, the 2019 Cannes Film Festival Best Screenplay winner and one of the most celebrated French films of the decade. Managing the film’s international press campaign was a crash course in European cinema at its highest level, opening doors to new partnerships.
The producers connected Benmosbah with Nadim Cheikhrouha who eventually hired her on Kaouther Ben Hania’s Four Daughters (Les Filles d’Olfa). The documentary earned an Academy Award nomination for Best Documentary Feature in 2024 — only the second Oscar nomination in Tunisia’s history.
Benmosbah’s transcontinental journey continued when she was accepted into the American Film Institute Conservatory, one of the world’s most competitive film schools (acceptance rate ~1%). Fast forward, Kenz is now settled in Los Angeles after graduating AFI as the youngest of her class.
Her debut feature, I Think She Hates Me, is in active development following the successful completion of a proof-of-concept short produced with a multinational team of AFI collaborators.
A dual-timeline romantic comedy, the film explores the chaos of first heartbreak with humor, raw honesty, and emotional depth. Its cross-cultural foundation has already drawn interest from producers in Los Angeles and Paris, reflecting Benmosbah’s ability to balance intimate storytelling with global reach.
At a moment when Hollywood is rethinking identity and storytelling, she stands out not by chasing permission, but by creating work that resonates across borders.