Love, identity, and colonial ghosts collide in one of Morocco’s boldest new thrillers — and now it’s making waves across the Arab world.
Mad Distribution has officially secured MENA rights for Moroccan filmmaker Meryem Benm’Barek’s daring new feature Behind The Palm Trees, which premiered in the main competition at the Marrakech Film Festival this past weekend. The Cairo-based company — known for championing Arab cinema that pushes boundaries — will manage the film’s release throughout the MENA region. It will also feature the title in its brand-new CineMAD theatrical showcase, set to launch this December.
But here’s where it gets especially intriguing: Behind The Palm Trees isn’t just a romance or a thriller. It’s a social mirror. The film boldly intertwines genre storytelling with moral and historical reflection, tackling complex themes such as post-colonial identity and emotional repression in conservative societies. Some are already calling it one of the most fearless Moroccan films in recent memory.
Set against the magnetic backdrop of Tangier, the story follows a young Moroccan man, played by Driss Ramdi (Escape From Raqqa), who becomes torn between two women — his loyal fiancée, portrayed by Nadia Kounda (Raltat), and a glamorous French woman, brought to life by Sara Giraudeau (The Bureau). Seduced by the Frenchwoman’s allure and luxury, he starts drifting away from his longtime partner, fully aware that his choices could come at a heavy cost. The stellar cast also includes iconic French actress Carole Bouquet and Olivier Rabourdin (Eastern Boys).
This bold cross-cultural project is a joint French-Moroccan-Belgian-Qatari production, led by Paris-based Tessalit Productions and Orléans’ Furyo Films, working in partnership with MAD Solutions. The film unites a diverse team of talent from the Arab world and Europe — a testament to how art can transcend borders.
The script, co-written by Benm’Barek and UK-Moroccan filmmaker Fyzal Boulifa (The Damned Don’t Cry), along with writers Emma Benestan (Facing The Beast) and Agnès Feuvre (À Mains Nues), weaves together layers of longing, social pressure, and colonial legacy. Cinematographer Son Doan (Viet and Nam) and editor Christel Dewynter (Hippocrates: Diary of a French Doctor) bring a haunting visual rhythm to the narrative, deepened by producers Jean Bréhat (West Beirut, The Insult) and Emma Binet.
The project also drew early attention from major regional cinema institutions. It received financial and production support from the Doha Film Institute, Atlas Workshops, and the Red Sea Souk — where MAD Solutions honored it with their sought-after Distribution Prize, granting a package of distribution, marketing, and sales services worth $50,000.
MAD Solutions co-founders Alaa Karkouti and Maher Diab describe the film as a rare marriage of authenticity and universality: “Behind The Palm Trees captures how love, passion, and emotional chaos speak in a language everyone can understand — no matter one’s culture or background.” They added that they were drawn not only to the story’s emotional power but also to Benm’Barek’s directing prowess, following her acclaimed debut Sofia.
When asked about her vision, Benm’Barek shared that her goal was to craft an “intimate thriller” in which hidden emotions slowly transform into dangerous forces. She said Tangier’s dual nature — both cosmopolitan and mysterious — made it the perfect setting to explore how personal desires can collide with societal constraints.
Born in Rabat, Benm’Barek grew up moving between Morocco, France, and Belgium before studying directing at Belgium’s prestigious INSAS school in 2010. Her early short films, including Jennah, earned festival acclaim and even made the shortlist for the 2015 Academy Awards. Her first feature, Sofia (2018), went on to win the Best Screenplay Award in Cannes’ Un Certain Regard section, before collecting multiple honors worldwide, including Palm Springs’ New Voices/New Visions Grand Jury Prize.
Today, that same filmmaker returns with a new and unapologetically bold vision — one that questions power, passion, and what happens when love becomes entangled with cultural identity. Paris-based Pyramide International is handling global sales.
And this is the part most people miss: Behind The Palm Trees isn’t just another festival darling — it’s a mirror held up to the Arab world’s ongoing dialogue with its colonial past and its modern identities. Are stories like this what the region needs more of? Or does their cross-European collaboration risk diluting that very authenticity? Share your thoughts — can an Arab story told through European partnerships still feel entirely ours?
