If there’s one thing I’ve learnt in Zimbabwe, it’s to wait.
Words by Alex Gwaze (Curator)
Questions by Alex Gwaze and Elspeth Chimedza (Writer, Content Creator)
There’s a myth that the British invented queuing, but since Zimbabwe’s (2007 / 2008) inflation crisis — with its endless lines for food, fuel, water and cash — I’d say we perfected it. We’ve queued for survival, for hope, and perhaps most painfully, for the promise of something better. Even our film industry seems to be stuck in one long line since the early ’90s. Yet there are always those who refuse to wait. Those who start without an audience. Those who perform with their siblings at their grandfather’s house before they even know if this is what they really want. Sibongile Mlambo is one of them.
Born in Harare and now based in the United States, Mlambo carries that unmistakable Zimbabwean instinct to keep moving — deliberate, restless, determined to meet opportunity head-on. Her career reads like a weekend binge watching: Honey 3, Black Sails, Teen Wolf, MacGyver, The Blacklist, Homeland, Lovecraft Country, Lost in Space, and Roswell, New Mexico — with more on the horizon. Beyond acting, she gives back — judging the European Film Festival Zimbabwe’s short film competition and mentoring young creatives. Between shoots, she’s been featured in GQ, Vogue, Deadline, and other global platforms — a Zimbabwean face in international spaces that often forgets where stories like hers begin.
But what makes Sibo different isn’t just her résumé. It’s the way she navigates representation. In an industry that often turns “diversity” into a buzzword, she moves with intention. She’s equally at home in African-rooted roles as she is in science fiction, fantasy, and historical drama. Every performance carries weight — a quiet assertion that Africa isn’t waiting to be discovered; that diaspora actors aren’t placeholders for progress. They hold space, and open doors.
When she played Donna, the fierce mermaid in Siren, or Angela, the engineer in Lost in Space, Mlambo resisted the stereotype of the immigrant or slave. Her work reframes the African not as an outsider but as a central figure in global storytelling. Essentially, Sibongile represents a generation of Zimbabweans who don’t wait for permission. They move, adapt, and create opportunities — wherever they are.
EC: Let’s start with something I came across — apparently, you were a contestant on America’s Got Talent back in 2009. Is that true?
SM: Yes, it’s true! I was in an urban burlesque dance group called Ruby Revue in Dallas. We entered and drove down to Austin, Texas. We entered as a dance act. It was a lot of fun, a lot of waiting, but just an all-around fun experience.
EC: Oh wow, I didn’t know you were that into dance. That sheds more light on Honey 3. Talking about auditions, you got your first role when you followed your brother, Bongani Mlambo, to an audition. That must mean you’ve mastered the art of cold auditions?
SM: Yes, I remember that — I had sulked so much that my parents let me go to audition with him. I would say I’ve mastered cold auditions, but the tip I can give you is to do your best to personalize it as much as you can. That will bring your unique choices and flavor to the audition. And mostly, be present and remember to have fun!
AG: It’s not just you and Bongani in the industry — your sister, Nomsa, is also in the mix. And you all worked on Veins of the Veld together, a real family affair.
SM: It’s great having siblings in the same industry because they understand what you’re going through, and of course, if we are able to work with each other, we will! I don’t know if there is a friendly rivalry — we are so different from each other and at different points in our careers. We’re just more supportive of each other than anything else.
AG: You’ve done a lot in your career so far. I’ve spotted you in some great shows — The Blacklist, Teen Wolf, Lost in Space. But I especially love seeing you pop up in projects like Black Lightning and Raising Kanan — it feels like a Pan-African moment, having Africans and African Americans in the same space.
SM: I love getting to be on Black shows and getting to be a part of Black culture in America — it’s one of the things that excites me the most! Black people have been oppressed worldwide — we have the shared experience of racism, discrimination, and prejudice. I love how culturally different we are, and it excites me when we are able to embrace those differences and come together.
AG: Speaking of exciting things, you did some motion capture work in Siren — full Andy Serkis vibes! Was that the hardest thing you’ve had to do on screen?
SM: I love Andy Serkis so much, oh my God! So, in Siren, we did CGI — they put dots on us and used those to track us so that they could then add the special effects. I have been working on full motion capture performance for a different project, and that has been, I think, the most challenging experience for me. You are literally just in an open space, and you have to imagine everything. You really have to get into your imagination. Whereas, when you’re on a set, they’ve helped you get there by creating the environment for you.
EC: How about voice acting? That must also be challenging. You voiced Melusi in Tom Clancy’s Rainbow Six Siege and worked on the audio drama Hindsight: The Day Before. How did you get into it?
SM: Voice acting is a different skill set for sure, and I’m growing a lot in it. I was given an offer for Hindsight: The Day Before. We’re hoping to record more episodes! With the video game, Tom Clancy’s Rainbow Six Siege, I auditioned for it and I booked it!
EC: You are killing those auditions. Do you still model — Miss Zim-USA 2nd Princess, former face of Nivea?
SM: (laughs) Not really, not in a while. I did a shoot with photographer Ramzi Mansour, for his new series of photos with another great actress Tendaiishe Chitima. But I’ve found acting to be more fulfilling for me, but I won’t turn down an opportunity to model, okay!
AG: Well, you might not be modeling, but you are still doing that kind of work as a Rotary Goodwill Ambassador to help eradicate polio and promote clean water. What are some of the biggest challenges in raising awareness for these causes?
SM: I think getting more youth involved. People look at it as something for older people, but there are Rotaract and Interact clubs all around the world that young people can join, participate in, and stay invested.
EC: On the topic of investing — you crowdfunded about 80% of the budget for Veins of the Veld, which is impressive! Raising money for film is tough. How supportive have your family and friends been in this industry?
SM: Actually, we crowdfunded for the development, and we are still raising funds for Veins of the Veld. Through this process, I’ve learned that filmmaking is a marathon and not a sprint. It’s quite a task, especially when you’re creating a short film because there isn’t really a return on investment. Our friends and family have been extremely supportive through it all.
AG: Lastly, I know you are working on your own local film, but you’ve been a strong supporter of Zimbabwean film as a long-time judge for the European Film Festival’s Zimbabwe Bioskop short film competition. What’s that experience been like — seeing some of the best (and maybe worst) films coming out of Zimbabwe today?
SM: Worst! (laughs) I really like being able to keep abreast of what’s coming out of Zimbabwe. I get to see what the current skill level is and what topics people are talking about or artistically expressing. It’s actually helped me stay in touch and stay connected.
Whether championing Zimbabwean film, family values, lending her voice to a video game, or advocating for clean water initiatives, Sibo is a reminder that African talent doesn’t exist to fill quotas or explain contemporary Africa to the world — it simply exists. For those who have not had their voices, images, and cultures historically erased, it is hard to comprehend what it means to be marked absent in your own story, or in the global story. To exist means being anything you want to be, refusing to be invisible, refusing to stand in line. For those who strive to carve their own paths and insist that the global gaze catches up with who they are, not the other way around, Sibo represents someone who has lost her patience — in the best way.
Follow Sibongile at @sibongileactress
MUD Journal 