The sun-drenched villas of Tangier, Morocco, often symbolize escape and luxury for European tourists. But behind the palm trees, a more complex story unfolds – one of power dynamics, unspoken colonial legacies, and the shifting currents of desire. That’s the terrain explored in “Derrière les palmiers” (Behind the Palm Trees), the new film from Moroccan director Meryem Benm’Barek, which arrives in French cinemas on April 1st. The film isn’t a polemic, but a nuanced observation of the subtle ways in which wealth and privilege shape relationships, and how the promise of a different life can both attract and distort.
Benm’Barek, whose 2017 debut “Sofia” tackled the taboo of out-of-wedlock pregnancies in Morocco, returns with a film equally intimate and socially resonant. “Derrière les palmiers” centers on Mehdi (Driss Ramdi), a young Moroccan man working with his father on renovating a luxurious villa purchased by a French family. His life is upended by the arrival of Marie (Sara Giraudeau), the daughter of the villa’s owners, and the allure of a potential future in France. As Mehdi becomes increasingly drawn to Marie and the opportunities she represents, his relationship with his longtime girlfriend, Selma (Nadia Kounda), begins to fray. The film, at its core, examines the uneven playing field of opportunity and affection that exists between those who hold economic power and those who do not.
A Tangier Steeped in History and Tension
Benm’Barek deliberately chose Tangier as the backdrop for her story. The city, she explained, is more than just a picturesque location. “Tanger… it’s a breathtaking city. Not just a setting: it’s charged, vibrant, crossed by a subtle but sometimes pernicious tourism, particularly relevant for my characters,” she told a Casablanca-based publication. “The sea is everywhere. You constantly experience the possibility of a future, just within reach, but never fully accessible.” This sense of longing and unattainable dreams permeates the film, mirroring the characters’ own aspirations and disappointments.
The film’s narrative structure deliberately highlights the disparities between Marie and Mehdi, but also between Mehdi and Selma, and Selma and Marie. Benm’Barek uses these contrasting trajectories to explore differing experiences of sexuality and social class. Marie embodies a perceived freedom and accessibility, whereas Selma represents a more traditional sense of modesty and the desire for family stability. This contrast, yet, isn’t presented as a judgment, but as a reflection of the complex forces shaping their choices.
A Divisive Exploration of Moroccan Society
The film’s frank portrayal of sexuality and social dynamics sparked debate following its screening at the Marrakech International Film Festival in December 2025. According to Maroc Hebdo, some audience members walked out during scenes they found too bold for the Moroccan context, a sign, the publication suggests, that Benm’Barek was “touching where it hurts – in the intimate areas where our most closely guarded taboos lie.”
Benm’Barek anticipated this reaction, viewing it as a “necessary risk.” She argues that to authentically portray love, one must also address sexuality. “Not showing it would be incoherent. Mehdi’s sexual frustration is key to his decisions, if I don’t show it, no one understands the film. Beyond that, I think the taboo serves no purpose,” she explained to Le360. This willingness to confront uncomfortable truths is a hallmark of Benm’Barek’s work.
Beyond Romance: Colonial Echoes and Social Change
“Derrière les palmiers” extends beyond a simple love triangle, delving into broader themes of gentrification, social domination, and the lingering effects of colonialism in Morocco. The relationships between the French homeowners and their Moroccan employees subtly reveal these power imbalances. Maroc Hebdo notes that Benm’Barek’s approach is subversive, almost thriller-like, and has the potential to spark critical societal conversations. “Benm’Barek doesn’t condemn. She observes. She observes how the intimate and the political mingle in our most elementary gestures: to love, to desire, to leave, to stay. And it’s perhaps this that disturbs some viewers: the idea that love, far from being a refuge, is an arena.”
The film doesn’t offer easy answers, instead presenting a complex portrait of a society grappling with its past and navigating an uncertain future. It’s a film that asks questions about who benefits from the existing power structures, and what sacrifices are made in the pursuit of a better life. The film’s exploration of these themes positions it as a significant contribution to contemporary Moroccan cinema, one that is likely to continue generating discussion long after the credits roll.
“Derrière les palmiers” is currently playing in French cinemas and is expected to be submitted to further international film festivals. Further screenings and distribution plans will be announced in the coming months.
If you are affected by the issues raised in this film, resources are available. You can find support and information regarding relationship issues and mental health at Samaritans or Mind.
What do you think about the film’s exploration of power dynamics and cultural clashes? Share your thoughts in the comments below.
