Student Profile : Samuel Benmoussa

When I scrolled through his Instagram feed, the only thing I could think of, was the artistic direction of this comedy movie which represents the 2010s nightlife in Thailand, filmed with anamorphic lenses. Samuel did an internship at GQ Magazine, which might explain why he embodies a similar vibe: a blend of punk aesthetics that celebrates youth, craziness and uniqueness.  

As a matter of fact, his personal project called @caterpillarzine, promotes the same themes but ‘in a more curious way’ as he likes to say. He aims to create a collection of photographs that goes beyond mere images. His work involves creating images connected to interviews and conversations with the people he meets around the globe, in this case, in Bangkok.

Samuel is a second-year Master’s in Image student at IFM. He describes his creativity as documentary, natural, curious and vibrant. Initially, he wanted to create a video with a similar concept, exploring the connection between Paris, Rio and Bangkok, but he finds ‘videos too reductive’. He prefers a physical magazine, as it is his favorite type of project. 

Through his work, his goal is for people to confront the truth. He wants to convey messages that represent reality and taboo subjects that he wishes to unveil: a story arc that questions by photography and replies through articles. The three words he uses to describe his magazine are: ‘youth, masculinity and representation of self’, drawing from his own experiences and encouraging readers to explore the intersection within these elements.  

His work doesn’t only revolve around Muay Thai boxers; he also interviewed an inclusive rugby team that pays tribute to the themes his magazine represents: discussing queerness in the sports, entering the intimacy of the players and seeking those main elements outside of his personal environment.  

One could say that Samuel is inspired by his origins unconsciously. He comes from the 19th arrondissement of Paris, has Tunisians and Moroccans roots which are never explicitly mentioned in his work. Yet these influences can be seen in the way he designs and conceptualizes his projects, including the multifaceted elements and the vibrant energy in his photographs.  

Samuel uses two cameras for the two aspects of his magazine (documentary and pictures). He first uses a simple analog camera that he bought at a flea market, which was his primary tool in Bangkok. He also uses a 2010s Nikon, the most used camera in the 2010s, demonstrating that professional-grade equipment isn’t always necessary for effective photography. I relate to this since I have the same model.  

There are only two cameras used, just like there are only two aspects of his work: simple and clear.   Samuel is a straightforward person that doesn’t have a bag nor a backpack and carries nothing on him, for the exception of his phone. He prefers classic magazines or newspaper and loves cult movies like: In the Mood for Love (Wong Kar-wai, 2000); It’s Only End of the World (Xavier Dolan, 2016); and Home Alone (a series of American Christmas family comedy films from the 1990’s, originally created by John Hughes).  

His magazine is called Caterpillar because a caterpillar grows and eats until its metamorphosis into a butterfly, much like how his experiences and internships have helped him develop his personal project.