An 11-year old Lebanese boy Zozo (Imad Creidi) moves to Sweden from his heavily bombed home country after a tragedy occurs in his family. In Sweden he is welcomed by his loving grandparents (Elias Gergi and Yasmine Awad) but adapting to a new environment and learning a new language aren't easy for the boy who still suffers from painful memories of his old life in Lebanon.
The first half of the film takes place in Lebanon, which the brownish, orange-tinted cinematography paints as hot but full of light. In the midst of the frequent violent incidents in the city, Zozo's family loves him and wishes to give him a better future abroad. After arriving in Sweden, the mood changes from dangerous to longing, partly due to the beautifully green and bright Swedish summer that highlights the contrast between the two countries. His grandfather's lovable antics help him to get over past traumas and lead to some comedic incidents, but a sense of loneliness lingers on and Zozo knows that there's more to life than the grandfather's simplistic teachings suggest.
Besides the realistic portrayal of Zozo's experiences at the Lebanese streets and the Swedish school, the movie spices things up by adding an extra layer of fantasy in the form of creations from Zozo's imagination. Be it a talking chicken, a God-like ball of light or an explosive reaction to school-bullies, the visualizations of Zozo's inner world provide interesting insight to his character and make the film more memorable than the average dramas about adapting to new life.
Zozo is director Josef Fares' first move into a more serious territory after the comedic Jalla! Jalla! and Kopps, and as such it succeeds effortlessly. The story is inspired by Fares' own experiences as a young immigrant in Sweden, and his insight on the subject produces an effective piece of cinema with well balanced tragic and comical aspects. Thanks to Imad Creidi's unforced performance as Zozo and the bubbling joie de vivre of his grandfather, the film can be recommended to anyone interested in immigration-related cinema, but the sense of being an outsider in a group should appeal to big audiences as well.
The first half of the film takes place in Lebanon, which the brownish, orange-tinted cinematography paints as hot but full of light. In the midst of the frequent violent incidents in the city, Zozo's family loves him and wishes to give him a better future abroad. After arriving in Sweden, the mood changes from dangerous to longing, partly due to the beautifully green and bright Swedish summer that highlights the contrast between the two countries. His grandfather's lovable antics help him to get over past traumas and lead to some comedic incidents, but a sense of loneliness lingers on and Zozo knows that there's more to life than the grandfather's simplistic teachings suggest.
Besides the realistic portrayal of Zozo's experiences at the Lebanese streets and the Swedish school, the movie spices things up by adding an extra layer of fantasy in the form of creations from Zozo's imagination. Be it a talking chicken, a God-like ball of light or an explosive reaction to school-bullies, the visualizations of Zozo's inner world provide interesting insight to his character and make the film more memorable than the average dramas about adapting to new life.
Zozo is director Josef Fares' first move into a more serious territory after the comedic Jalla! Jalla! and Kopps, and as such it succeeds effortlessly. The story is inspired by Fares' own experiences as a young immigrant in Sweden, and his insight on the subject produces an effective piece of cinema with well balanced tragic and comical aspects. Thanks to Imad Creidi's unforced performance as Zozo and the bubbling joie de vivre of his grandfather, the film can be recommended to anyone interested in immigration-related cinema, but the sense of being an outsider in a group should appeal to big audiences as well.