The man reads his newspaper on a toilet bowl. The woman presents the newspaper behind a television. In fact, he's a prisoner, she's a spy. But what terrible secret is he hiding?

In this Sufi tale, Nadia, a young Moroccan emigre returns from Paris to Fez to visit her dying father. At his funeral, she is overcome by the voice of Karina chanting the Koran. A powerful friendship develops between the two women as they decide to turn the father's palace into a shelter for Muslim women.

A young delinquent who has just come out of prison finds himself put to a difficult mission: to track a relative of an ex-detainee who lost his memory during the long years of his detention.

The film focuses on an ill-matched group of individuals who meet up in Tangier, all nursing hopeless dreams of going to Europe: Mohamed to see a horse race, Ali to have an operation to restore his sight, Fatima to rejoin her mother. Mohamed enters a fantasy world, pretending to his wife that he is already in Paris, and steals to pay for his visa. Ferhati creates a suffocating world, reminiscent in some ways of the French poetic realism of the 1930s: the enigmatic blind man, rain-swept and darkened streets, characters prevented from achieving their dreams, the opportunity to escape always in view but always just out of reach.

Since Mina is sufficiently mentally impaired that her judgement is not all that it might be, in this Moroccan drama her actions are not questioned. She doesn't know what's happening when a taxi driver has sex with her, and she's equally clueless about how she accidentally killed him. However, she does recognize that having a dead body around is a liability, and she buries the taxi driver under a pile of sea salt. When it turns out that she's pregnant, her aged fisherman father and loving stepmother put her in hiding and the stepmother pretends to be the pregnant one, so that when the child is born she can claim it as her own.