Tarr analyzes the representation of Islam in a corpus of films made since 2006 that focus on the changing identities of Muslims in contemporary France. He states that “the protagonists negotiate their Muslim identity in a French context and, implicitly, the films may support the integration of Islam as a legitimate referent of French identity. However, their construction of Islam does not extend to positive representations (…), and the films therefore still risk confirming the oppressive majority opinion that some practices related to Islam are incompatible with the secularism of the French Republic”. Tarr also analyzes how males of Maghrebi origin, through their sense of exclusion, develop an anger and frustration that highlights the mainly violence-oriented male characters in banlieue cinema. These films are made by white directors, while beur directors use comedy, but both show the lack of agency of beur actors in the world. Alec Hargreaves talks about Maghreb-French filmmakers, underlining that their success goes beyond their background. Michel Cadé has written about the role of Islam in Francophone cinema and argues that “French cinema has had little interest in representing Islam” and “references to Islam have been overlooked perhaps in an attempt not to alienate viewers”. However, he also says that some films shed light “on attachment