Marwan Kenzari
Marwan Kenzari is an actor, born 1983.
Marwan Kenzari is Dutch, born in The Hague to a Tunisian family, and spent the first stretch of his career entirely inside Dutch television and film: the police procedural Flikken Maastricht, the crime drama Penoza, the thriller Loft. Wolf, in 2013, won him a Golden Calf for best actor and effectively closed that chapter.
From 2016 the work is international and mostly in English, and the industry's first instinct was to hire him as a threat. He is a Roman officer in Ben-Hur, a henchman in The Mummy, the train conductor with something to hide in Murder on the Orient Express. Aladdin then handed him Jafar and he played it against every version of the character that came before, quiet and young and careerist rather than a cackling sorcerer, a reading that divided audiences and is more interesting than its reputation.
The Old Guard is the best use of him so far. As Joe, an immortal soldier, he gets one short speech about the person he loves, delivered from the floor of a van, that did more for that film's standing than any of its shootouts. He returned for The Old Guard 2.
Since then he has moved between studio spectacle and smaller European work, Black Adam and Ghosted on one side, The Angel and The East on the other. The register he is most reliably good in remains the calm man in a violent room.
Movies (17)
- Aladdin (2019)
- Black Adam (2022)
- Murder on the Orient Express (2017)
- The Mummy (2017)
- The Old Guard (2020)
- Ghosted (2023)
- The Old Guard 2 (2025)
- What Happened to Monday (2017)
- The Return (2024)
- Ben-Hur (2016)
- The Promise (2016)
- Collide (2016)
- The East (2021)
- The Angel (2018)
- Accused (2014)
- Instinct (2019)
- Loft (2010)
TV (2)
Where to start with Marwan Kenzari
The Old Guard is where to start. Joe is an immortal mercenary who gets a single monologue about love that has outlived the film around it, and The Old Guard 2 brings him back for more.
Aladdin is the mainstream entry and the one worth arguing about: his Jafar is a quiet middle manager with ambitions rather than a sorcerer having fun, which is either a smart reading or a missing villain, depending on your patience.
For the character work, Murder on the Orient Express uses him as the conductor in a carriage full of suspects, What Happened to Monday gives him a proper co-lead, and The Angel casts him as a real Egyptian intelligence figure in a solid spy film. His Dutch material, Loft and Instinct, is the least decorated acting he has on record and worth the subtitles.