Jalila Tlemsi

Casablanca, Morocco. A trio of women, with the police on their tail, embarks on a long escape that takes them across the rugged red terrain and flower-filled valleys of the Atlas to finally reach the Atlantic coast.

Nora, who has been attached to her work and her career, decides to sacrifice everything so that she can raise her daughter, Hind one year old, and take care of her house, because her husband Salim earns a good living. Since they had Hind, the couple decides to reduce their quarrels and shouting matches so as not to create bad energy in the house and around their daughter. The violence decreases in the house, but the traps and dirty tricks are still there to entertain. Nora and Salim can't live without bothering each other.

Hayat is released after serving a long prison sentence. She returns to her hometown in northern Morocco, where she finds herself faced with a brother who refuses to welcome her for fear of shame. Hayat merely wishes to see her son so she can explain the truth to him. She meets Amal, who works in a fruit factory and takes care of Houda, her sister who is two years her junior and suffers from a severe disability. The courage and strength of these three women drives them forward in the face of exclusion, exploitation and marginalization.

On the last day of Ramadan, a hastily assembled crew of technicians waits in a shabby Morocco television studio for the arrival of an important personality, expecting to film what their director Rita promises will be the interview of their lifetime.

Hossein, a teenage boy who is connected to the increasingly globalized world, dreams of a freer future far from his native Tangier. His mother Naïma, however, is determined not to let him follow in his brothers’ tragic footsteps, and takes him to the south against his will. In this new setting he gets his first taste of romantic love and disillusionment, and eventually reconnects with his mother, whose devotion he had previously shunned.

Three masked men invade a rich family in their home in broad daylight to steal their money. But nothing is what it appears.

Three patients and a nurse from a women's psychiatric ward in Casablanca, Morocco, confront their suffering and forge a strong friendship, escaping in occasional nocturnal escapades that slowly help to bring them back to life.

The film tells about the problems of four men (Karim, Amin, Tarek, Said), Karim's problem is the difficulty of communicating with women, which leads him to consult a psychiatrist who tells him that he suffers from women's phobia. Amine Is an entrepreneur, and his dream is to marry a supermodel. Tariq on the other hand is an actor with several transient relationships with women, while hoping to find the women of his life one day for marriage, Saeed, a surgeon, dreams of a rich woman who builds a private clinic for him

The protagonist is obsessed with the 1982 film Disco Dancer that his now deceased projectionist father showed him when he was a kid, a film that, his father said, contains the answers to all questions. Jimmy adopts the name and dress of its hero, his bedroom is an altar to Bollywood and disco, he lives in a state of arrested development that starts and stops with Disco Dancer. Of course, he is in love with Mouna, the dream girl who lives on the other side of the tracks, and whose bourgeois demeanor rubs up his pal, Houda, the wrong way. In order to get to her, the dazzled thirty-year old dreamer decides to shoot a remake of Dirty Dancer with a “borrowed” IPhone, in the slums. The destruction of the latter is imminent, under the harsh command of a cruel villain: Barkour.