Yamina Benguigui is a pioneer in the representation of Maghrebi immigration to France, and has produced a number of works of documentary and fictional film on the subject. This article discusses her fictional film Inch'Allah dimanche (2001). The film portrays the trajectory of a young woman, Zouina, who takes her children and mother-in-law to join her husband in France. The film is unique for its close focus on the space of the home, and the negotiation of gendered spaces within the strict confines set by Zouina's husband. In this article, I consider Zouina's tentative steps towards emancipation from these confines, focusing on preconceived notions of gendered spaces across different cultures. I consider possible interpretations of the final moment of wounding in the film, in which Zouina breaks through a window with her bare hands, destroying the barrier between the interior, private space of the home and the exterior, public space of the street.