MALIKA (21), a French girl of Arab origin, needs the help of her three sisters to find and stop their evil mother, the most wanted terrorist in the world. Ten years have passed since their mother mysteriously disappeared and the sisters were separated and adopted by different Islamic families around the world. After a terrible attack, the sisters gather together again and start the adventure. 
 
They land in Lebanon, where their mother’s terrorist organisation is based. Thanks to chubby AIDA’s computer skills, strong YASMINA’s kickboxing, beautiful LATIFA’s 2.0 social abilities and tomboyish Malika’s courage, they locate their mother. But things are not how they seemed: the woman is at the service of BLANCHE WEISS, the leader of Whitewater – a worldwide private security company. The sisters get entangled in Blanche’s evil plan: produce and broadcast the “Burqa Bombers” videos to frighten the world and make Whitewater gain more and more control over Europe. The unexpected sacrifice of the girls’ mother allows the sisters to escape from Blanche. 
 
The sisters’ final journey is to seek revenge and prevent Blanche from bombing the Shopping Festival in Dubai. 

#Fierce is my first script and it’s still in development.

The idea for the subject came when I was living in Egypt (2009-2011). Munaqqabat – women wearing a niqab or Islamic face-covering veil – are more and more present and visible in European and Islamic countries. As a European, I had to challenge Western cultural stereotypes that depict Muslim women (especially those wearing a niqab) as oppressed by a patriarchal society and religion. My imagination used a transformative approach on this discourse by inventing stories about non-conventional Muslim women (at least for Europeans). These daydreams are the sparks at the core of #Fierce.

My goal is to write a mainstream chick flick action film. More specifically, a conspiracy thriller. I want the story to be entertaining and dynamic. I want to offer to the audience an exciting visceral experience. And I want it to be a new, original experience.

Our aim is to reach the largest audience possible. First of all, the movie is written for a multi-cultural audience. The flamboyant characters, the fast-paced story and the spectacular movement of bodies draw on those aspects of Western pop culture that can also entertain Arab audiences and, at the same time, on those elements of Middle-Eastern iconography that will renew the aesthetics of the action genre for the Western viewer. Moreover, the story is meant to entertain different generations. The characters and the action are made to excite a young audience (even teenagers), while the crazy geopolitical intrigue in the background will attract a mature audience as well.

I want to use the visual and narrative power of the action movie to talk about disintegration and reconstruction of sisterhood (plot), shifting identities across contemporary worlds (the sisters’ subplots) and construction of imaginaries (the Whitewater conspiracy subplot).

Unlike many action movies concerning Islam, I don’t want the Muslims to be either victims or villains. Furthermore, I don’t want the female characters to be sidekicks. They are strong positive characters, capable of reacting to injustice and to subvert stereotypes about religion and women.
Dubai is an essential location for our story. The city is part of that hyper-contemporary dream that makes the rest of the world look old and boring. Higher than New York, shinier than Las Vegas, kinkier than the metropolis in Blade Runner, it provides new cinematic territories to our imaginaries.