{"id":196,"date":"2026-05-19T04:10:01","date_gmt":"2026-05-19T04:10:01","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=196"},"modified":"2026-05-19T04:10:01","modified_gmt":"2026-05-19T04:10:01","slug":"strawberries-review-moroccan-women-in-spains-agricultural-industry-are-exploited-by-a-callous-system-in-a-potent-but-flawed-drama","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=196","title":{"rendered":"\u2018Strawberries\u2019 Review: Moroccan Women in Spain\u2019s Agricultural Industry Are Exploited by a Callous System in a Potent but Flawed Drama"},"content":{"rendered":"
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\n\tStories about exploited migrant workers have become something of a mainstay in international cinema, rightly so given the tenacious hold this form of indenture \u2014 or worse \u2014 continues to have on the Global North.\u00a0They also make for good cinema: who doesn\u2019t want to root for people oppressed by the henchmen of rampant capitalism? La\u00efla Marrakchi\u2019s \u201cStrawberries\u201d seeks to shake up the formula by making her protagonist a more flawed, at times even unlikable character who generates ambivalent feelings in the viewer, yet the script doesn\u2019t delve deep enough into her bad choices. Subtlety is good, but a drop more insight wouldn\u2019t go amiss. In addition, the extreme na\u00efvet\u00e9 of the Spanish do-gooder lawyer is an out-of-place clich\u00e9 in a film whose cinematic potency and multifaceted performances testify to Marrakchi\u2019s strengths.<\/p>\n

Read more \u2018Full Phil\u2019 Review: With Woody Harrelson and Kristen Stewart Locked in a Father-Daughter Hatefest, Will Quentin Dupieux\u2019s Latest Bizarro-World Lark Be His Crossover Movie?<\/a><\/p>\n

\n\tThe excellent opening successfully crams in a lot of information without feeling artificial: close-ups of a succession of inspected hands shot from above convey the idea that these women are interchangeable labor, nothing more. \u20ac35 a day to pick strawberries in the Spanish province of Huelva is tantamount to slave wages, but for these Moroccan women, it means earning enough to send money back home. Tense, uptight Hasna (Nisrin Erradi, \u201cEverybody Loves Touda\u201d) is especially determined to start work, driven by a need she\u2019s not willing to share. With her on the crossing is quiet, hijab-wearing Meriem (Hajar Graigaa), with whom she\u2019ll be sharing cramped living quarters in a prefab container with giggly Zineb (Hind Braik) and older Khadija (Fatima Attif). Next to her bunk, Hasna sticks up a newspaper article about her winning a gold medal in taekwondo, alongside a photo of a boy: these are the only clues to her life before.<\/p>\n

\n\tConditions at \u201cFresa del Carmen\u201d are arduous but the women keep their heads down since protesting would jeopardize their meagre earnings. Besides, no one speaks Arabic, including the useless union rep Antonio (Nando P\u00e9rez), who\u2019s clearly a tool of the owner. Days are spent in back-breaking labor picking strawberries in long plastic-covered greenhouses, while off hours are limited by language barriers, lack of money and the control exerted by the camp foremen. With only themselves to support each other, a sense of camaraderie prevails, but that\u2019s broken when owner Iv\u00e1n (Paco Mora) comes into the shower room and orders Hasna to leave, clearly intent on raping Meriem.<\/p>\n

\n\tIt\u2019s a bold narrative choice, one which immediately alienates Hasna from our sympathies even as we seek to comprehend why she\u2019d abandon her coworker to an unambiguously violent scenario. We can understand Hasna\u2019s dilemma, since protecting Meriem would likely mean losing her ability to earn much-needed cash, and the consequences of using her taekwondo skills on Iv\u00e1n could be severe. Yet the script needs to offer a little more clarity to Hasna\u2019s backstory at this point, because by the time more is revealed, we\u2019re unable to shake the very negative feelings generated by her betrayal. Equally problematic is the way all the other women basically abandon Meriem, who\u2019s clearly traumatized even though she doesn\u2019t reveal what happened. Adding insult to injury, Hasna accuses Meriem of using her body to get a cushier, better paying job as maid inside the boss\u2019 luxurious home.<\/p>\n

Read more \u2018Game Changer\u2019 Host Sam Reich on What Got Cut From Season 8 Premiere\u2019s Censor-Heavy Episode, Including Jeremy Culhane\u2019s \u2018SNL\u2019 Joke<\/a><\/p>\n

\n\tIt\u2019s not the sexual assault that finally gets Hasna riled up but the sudden lack of work \u2013 only then does she start to complain. Shortly after, Meriem is denied medical attention when she miscarries, leading Hasna to finally approach young human rights lawyer Pilar (Itsaso Arana), who she contacts through sympathetic local shop worker and organizer Ali (Mohamed Larbi Ajbar). From here \u201cStrawberries\u201d starts to become very predictable, with Pilar utterly clueless about conservative Moroccan society and local authorities treating the migrant workers with disdain. Of course these attitudes not only exist but are rampant, yet putting them into a film requires a rejection of one-dimensionality in the same way that Marrakchi (\u201cMarock,\u201d \u201cRock the Casbah\u201d) goes to great lengths to ensure Hasna\u2019s character isn\u2019t simply an important social issue on which to suspend a plot.<\/p>\n

\n\tMore successful is the overall atmosphere of the workers\u2019 camp and farm, conveying a sense of oppression even without visible fencing. It\u2019s not only the coercion within the circumscribed spaces where the women work and live, which chips away at their initial solidarity, but the disregard of the world outside, where even those wanting to be their champions are so blinded by their first world conceptions that they\u2019re incapable of being the advocates these women desperately need. Hasna\u2019s problematic actions are meant to be seen through this lens, alongside the gradual revelation of her life back in Morocco, yet our interest in sticking with her comes more from Erradi\u2019s compellingly flinty performance than the flawed character development.<\/p>\n

\n\tEqually grabbing our attention is the overall mise-en-sc\u00e8ne, with DP Tristan Galand (\u201cSouleymane\u2019s Story\u201d) wielding a camera that roves along the endless rows of greenhouses, settling alongside the women with slightly nervous movements that help manifest their instability in this environment. The sudden shift of vision inside Iv\u00e1n\u2019s house, with its more neutral lighting and fixed frame, acts as a necessary contrast, also conveyed through perceptive editing.<\/p>\n

Read more \u2018I Punched a Hole in the Box and Got Out\u2019: Nathan Lane, Laurie Metcalf and a Tony-Nominated \u2018Death of a Salesman\u2019 Revival for the Ages<\/a><\/p>\n<\/div>\n<\/div>\n

\n

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\t\t\u2018Strawberries\u2019 Review: Moroccan Women in Spain\u2019s Agricultural Industry Are Exploited by a Callous System in a Potent but Flawed Drama<\/p>\n<\/h2>\n

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\t\tReviewed online, May 17, 2026. In Cannes Film Festival (Un Certain Regard). Running time: 101 MIN. (Original title: \u201cLa m\u00e1s dulce\u201d)<\/p>\n<\/h2>\n

    \n
  • \nProduction:<\/strong>
    \n(France-Morocco-Spain-Belgium) A Lumen, Atelier production in co-production with Mont Fleuri Production, Fasten Films, Mirage. (World sales: Lucky Number, Paris.) Producers: Juliette Schrameck, Mathieu Verhaeghe, Thomas Verhaghe. Co-producers: Sa\u00efd Hamich Benlarbi, Adri\u00e0 Mon\u00e9s Murlans, Claudia Calvi\u00f1o, Elisa Heene, Alexandre Aja, Corinne Rossi, La\u00efla Marrakchi.\t\t\t<\/li>\n
  • \nCrew:<\/strong>
    \nDirector: La\u00efla Marrakchi. Screenplay: La\u00efla Marrakchi, Delphine Agut. Camera: Tristan Galand. Editors: Jean-Fran\u00e7ois Elie, Nicolas Chaudeurge. Music: Clara De As\u00eds.\t\t\t<\/li>\n
  • \nWith:<\/strong>
    \nNisrin Erradi, Hajar Graigaa, Hind Braik, Fatima Attif, Itsaso Arana, Paco Mora, Mohamed Larbi Ajbar, Fran Cantos. Nando P\u00e9rez, Fatima Zahra Khoulati, Antonio Estrada, Nawal Sordo. (Arabic, Spanish dialogue) \t\t\t<\/li>\n<\/ul>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

    Premiering in Un Certain Regard at Cannes, La\u00efla Marrakchi’s ‘Strawberries’ aims to shake up the often formulaic narrative of exploited migrant labor.<\/p>\n","protected":false},"author":1,"featured_media":195,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[3,99,100],"class_list":["post-196","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-cannes-film-festival","tag-laila-marrakchi","tag-strawberries"],"yoast_head":"\n\u2018Strawberries\u2019 Review: Moroccan Women in Spain\u2019s Agricultural Industry Are Exploited by a Callous System in a Potent but Flawed Drama - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=196\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Strawberries\u2019 Review: Moroccan Women in Spain\u2019s Agricultural Industry Are Exploited by a Callous System in a Potent but Flawed Drama - 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