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How? Dari: “Winterslag is a neighborhood where many young people are going into the wrong direction. Big dreams are taboo, apparently. I was bullied, mainly because I wanted to start something with my life. Even if I said that I would one day want to go to New York, I would be laughed at: “Just sit down, Nora! Who do you think you are?”

Keep your head down, keep your nose clean and make sure that you can start working at the age of eighteen: something like that? Dari: *nods* “Graduating and going to work at the age of eighteen seems like quite an achievement in Winterslag. If you hadn't gotten into the wrong shit by then, you would’ve done well. At my school, we had two pupils without an immigration background and otherwise exclusively Turks, Moroccans and Italians from families who were really poor. Our parents worked very hard, you spend a lot of time on the street and bad things sometimes happened. *thinks* There’s a reason why I almost exclusively watch gangstershit movies. I come from a neighborhood where a lot of gangstershit happens. I’ve seen and experienced so many bad things, but at the same time Winterslag is such a big part of who I am and I get very angry when someone else talks about it like I do now. *small laugh* 

I’ll buy a house there one day. It’s still my home, all the beautiful things and all the rotten things in one pile. To be clear: I don't want to romanticize my childhood. Winterslag is hard, but nothing to be sad about. There are so many people who have gone through the same thing. Only, it sucks to be called a whore, because you want to do something that is apparently 'not normal'.”

It dawns on me why you once said that Algerian-Canadian Zaho's song Kif'n'dir summed you up quite nicely. Especially the text 'Je fais la morte pour ne pas mourir'. Dari: “That's what I've been doing for a long time. Keeping myself deathly still and don’t stand out too much. In the long run, you also start to believe what others are telling you, that acting is not for you.”

When did you finally stopping ‘being death’? Dari: “When I was fifteen, when I heard that Adil El Arbi and Bilall Fallah were looking for extras for ‘Patser’. That didn't mean much more than just bumping into Matteo Simoni, but I was sold immediately. In between shots, I approached Adil: “Mr. El Arbi, thank you for opening my eyes. From now on, I’ll go all out for this.” *laughs* We clicked and in the meantime we’ve become friends. I hope he thinks of me when they start recording ‘Patsers’, so that I can show how much I've grown in those two years.”

Not much later, through their casting agency Hakuna, you ended up as a suicide bomber in the Finnish-Belgian Crime series ‘Bullets’. What have I missed? How did you go from a sixteen-year-old extra to such an intense role in a few months? Dari: “I think - if I may say that - they were shocked after my casting. I’ve never thrown myself into a project as hard in my life. Whining. Shouting. Tantrums. All fucking emotions, one after the other. You’ve been looking so long for a Moroccan girl who wants to act and then you get me. *laughs* I've never loved anything as much as acting, so I’m giving everything during a casting. I know that I’m not the best and still have to learn, but I suspect my energy is making up for it. That, and I consider myself a very pleasant colleague. *laughs* I greet everyone in a Genk dialect, always walk around smiling and even bring cookies.

I've always had the feeling that I have to work harder than the rest, because people expect less of me. That's what my father taught my brothers and me. At the Liège boarding school where he studied, he was the only Moroccan in Latin studies: his classmates thought he was weird, because of his origins and the other Moroccans looked at him weirdly, because he aimed higher. "Ah, Mr. pope is back there." In the end it became so unbearable that he enrolled in the TSO (technical school), which was socially accepted.”

How does a 16-year-old feel like a suicide bomber? Dari: “They gave me a background, but I added a few things myself to make it easier. And music helps me really hard too: ‘Qui suis-je’ from Scylla on repeat and then a little method acting in that character. My mother was there on set and apparently got terrified. *laughs* I asked them not to accompany me anymore. When I see them, I come back to myself, while I try very hard to forget myself in front of the camera. I need to be able to get into a role on set. Although it remains very strange to hype yourself up for hours with the mantra 'I'm dying and I'm taking all these people with me'. Fortunately, I can also easily let go. I had to, I had exams the next day. *laughs* Suicide bomber by day, studying economy by night.”

In May you hopped around on the Croisette for the world premiere of ‘Ghost Tropic’. You play the daughter of Khadija, a woman who walks home through Brussels after falling asleep on the metro. Devos makes quiet, poetic arthouse films: it’s a huge leap from teenage series and thrillers. Dari: “It was an adjustment, yes. Before I played in ‘Bullets’, I had never even seen a Flemish film. Not a single one. Or wait: one at school. What was it called? I have to give a speech soon, with its protagonist.”

‘Daens’? With Jan Decleir? Dari: “That one! Everything I had already learned about acting was from Hollywood movies. That enlarged playing style also worked in ‘Bullets’, but when I tried that in ‘Ghost Tropic’, Bas blocked it very quickly. *laughs* "The less you do the better, Nora!" I thought about it all too hard. "Nora, just go." “Yes, but Bas, who am I? What have I been through up to this point?” I have a hard time playing without a backstory in my head.”

Did you learn something from Devos? Dari: “Bas and Maaike Neuville told me in Cannes that I shouldn’t forget to live. I was only busy with what should be my next big step, but I also have to learn to enjoy. Surrendering is nothing dirty, but if I put everything aside for this job, I’ll never be able to put content in my characters. Then they’ll give me a heavy role and I’ll get stuck.”

Sensible advice. Alarm bells already went off when I read in ‘Het Belang van Limburg’ that you certainly wanted to remain celibate until you were 27 and wouldn’t continue your studies, just focussing on your career. Dari: “In the end, I’ll study cross-media management and I’ve come back to that other one as well. *laughs* What?! I’m seventeen, I change my mind completely every month. When I am 40, I don't just want to have a nice IMDb profile to look back on.”

'9000 followers? That is more people than have seen my last film', Devos thought humbly in your Instagram Stories. Dari: “I hope ‘Ghost Tropic’ gets more visitors than I have followers, but I'm not going to bitch if only fifty people come to watch the film in the end. I just like to act and have hardly seen anything from ‘Bullets’ or ‘wtFOCK’ myself. When I'm not on set, I just feel bad. As if I'm not getting the most out of my life. 

At the very least, ‘Ghost Tropic’ gave me another experience and I was able to take my father with me, when we went to the Dominican Republic. My grandfather had passed away just before the shoot and we kind of processed that together there, while we were watching the sunrise at five in the morning. A very tender moment. Very cinematic, too. *thinks* I’m a very passionate person. Everything I experience is immediately very big. It’s all hard, good or bad. So hard that I can't always process all the feelings. *dryly* I hope I don't go crazy. I really wouldn't be surprised if that happens.”

You seem to be especially prone to obsessions. Whether it’s making music, painting or acting: if you decide to do something, everything has to make way for it. Dari: “When I got a keyboard, I was immediately very invested in my music. Making beats to accompany my slam poetry, tinkering at night, searching and keeping my parents awake until they went crazy. And then I suddenly got tired of it and started painting. Swimming. Dancing. I also played soccer for a while, mainly to get my dad's attention. During the 'consultation hour' around the tajine I could never have a chat with my brothers and father, because it was only about football and anime.”

Anime? Dari: “The men in my family are all next-level anime fans. They even speak Japanese to each other. *thinks* And I also plunged into my religion for a while, in between football and slam poetry.”

How? Dari: “When the community center closed its doors around the age of 13 and I saw a whole circle of friends go away in one go, I started clinging to something else. So, faith. At that time I also wore a hijab, because I was convinced that you could only be such a good Muslim. I was really pretty strict and took everything way too literally. Today I understand that you mainly have to look for your own interpretation.”

In the meantime, the average 15-year-old is also going through a storm for the second season of wtFOCK, which can be followed daily on Instagram and wtfock.be, good for about 400,000 visitors a week and more than 8 million watched - or at least started - episodes. Significantly more than the first season, although that also had good numbers. Especially for a series that was deliberately launched in silence. “You’re already bombarded with advertising on Instagram, subtle and less subtle,” says Dari, while she tries so intensely to make eye contact with a waiter that he almost bumps into a glass door. “I don't have any big theories about the future of television, but ‘wtFOCK’ really was a relief. It’s on the internet and you mainly do what you want with it. "Ah, I don't have to look?" That unforced approach works. The worst thing that could have happened to us, was that the press started writing about it en masse: it had to remain a bit mysterious and above all belong to the young people themselves. Normally we don't give interviews either: ‘wtFOCK’ is one big bubble that you shouldn't talk too much about.”

Without any illusions about the appeal of Knack Focus to fifteen-year-olds: is this conversation a good idea? Dari: “Sounds okay to me. I’m more now than just Yasmina? And I think fifteen-year-olds do know Knack.” 

For real? Dari: “That's the book we get in History as source material in class. *laughs* I think I'll stop giving interviews again after this. A little mystery can't hurt.”

SKAM, the Norwegian series of which ‘wtFOCK’ is a remake, became a hit in its own country. That’s not always the case with foreign remakes, except for the Flemish one. It continues to gain popularity. Do you have an explanation for that? Dari: “No idea why things were less successful in other countries, but ‘wtFOCK’ is so good because it is real. We don't disguise anything, don't pour Hollywood sauce on it and talk like I talk to my friends. Apparently, a lot of teachers also follow the series to get a better understanding of their students. Smart, because we tackle all issues a teenager has in a very realistic way.”

The makers of SKAM were prepared with a tour through its country and a survey of Norwegian teenagers. Their biggest conclusion was: no generation suffers as much from performance pressure and comparison anxiety as yours. Dari: “Social media. Instagram is a very beautiful, but at the same time very scary place. A lot of girls now ask me, for example, how they can also enter this profession. But if you ask them why, it turns out that there’s no passion, they just see it as a fast road to fame. Then join ‘Temptation Island’? They see  people like Millie Bobby Brown (from Stranger Things), who is barely fifteen and has a crazy career and they let themselves be hyped about it. I should actually say 'we'. I said it already: I ​​hope I don't go crazy.” *giggles hysterically* 

About 1200 teenagers showed up for the casting of wtFOCK, but the makers did not find their Yasmina there. Dari: *nods* “In the end they also had to call Adil, who gave me the tip.”

Why do you think that is? Dari: “I get angry when someone says they want more diversity, but can't find anyone. *throws arms up dramatically* "They aren't there!" They are there. In my neighborhood alone, so much talent is packed together. You may have to do your best to find them, because if you come from a neighborhood where ambition is laughed at, you’ll not find your way to a casting. Because the TV and film world seem so closed off from the outside - and it is. I also didn't know how to do that, I was just lucky that Adil, Nora Gharib and Ikram Aoulad wanted to help me. They helped me avoid a lot of rookie mistakes. And that I won't sign myself up for Temptation Island or something tomorrow.” *laughs*

Gharib also predicted that as a Moroccan woman she would have problems with ‘Patser’. From the moment you do not portray a classic religious Muslim woman, it seems to already lead to commentary. Dari: “I've had my part too. Women who send to me that I brought shame on the entire Moroccan community, for example, because Yasmina doesn't always wear her hijab. Usually these are women who’ve seen two minutes of the series and then get angry without seeing the context. *blows* You know, I don’t care. If my parents and I are okay with it, then no one has anything to say to me. Criticism slips away from me. It really takes more than an angry DM to get me off my path, I come from Winterslag breeding.”

*** Bas Devos, director ‘Ghost Tropic’:

“I had never seen Nora at work, but her audition video immediately made me curious. At the final casting, where she had to improvise a bit, it was already clear to me after a few minutes. She did a beautiful job. Nora is not trained as an actress, but I often work with a combination of non-professional and professional actors. That really doesn't matter to me. It's all about how naturally someone relates to the camera and how relaxed you are while being filmed. Then very beautiful things can happen. And I think she also liked not having to make her character bigger in an understated film like ‘Ghost Tropic’, as that’s sometimes the case for TV. To hear that you are still playing without doing anything.