Fez — Nisrin Erradi walked the Cannes Film Festival red carpet alongside director Laïla Marrakchi and co-star Hajar Graigaa for the presentation of “La Más Dulce,” selected in the festival’s “Un Certain Regard” category.
The film, also known internationally as “Strawberries,” follows Hasna and Meriem, two Moroccan women who leave the country for the first time to work as seasonal laborers in strawberry greenhouses in Andalusia. What begins as a journey of hope quickly becomes a confrontation with harsh working conditions, abuse, and economic vulnerability.
Erradi plays Hasna, while Hajar Graigaa plays Meriem, according to the film’s available casting information. The story centers on the two women’s decision to challenge the system around them, even as speaking out threatens the fragile future they had traveled to Spain to build.
A Moroccan story on an international stage
For Erradi, the Cannes appearance marks another step in a career shaped by socially charged roles and emotionally restrained performances. She previously appeared in Maryam Touzani’s “Adam,” which was also presented in “Un Certain Regard” at Cannes in 2019.
Marrakchi’s return to Cannes also carries weight. Her debut feature, “Marock,” was selected for “Un Certain Regard,” and “La Más Dulce” continues her interest in women’s stories, social tension, and the private cost of public systems.
The film’s official Cannes synopsis presents “La Más Dulce” as a drama about Moroccan women drawn into seasonal agricultural labor in southern Spain, where the promise of better wages collides with exploitation.
A subject rooted in real labor debates
Beyond its festival profile, “La Más Dulce” touches on a long-running issue between Morocco and Spain: the recruitment of Moroccan women for seasonal agricultural work, especially in the strawberry sector.
The film’s subject echoes wider debates around migration, gender, labor rights, and the invisible work behind Europe’s agricultural supply chains. Atlas Ateliers, the industry platform of the Marrakech International Film Festival, described the project as a story told from the perspective of young Moroccan women who travel to Andalusia to pick strawberries.
The theme also recalls research such as Chadia Arab’s “Dames de fraises, doigts de fée,” which has examined the lives and labor of Moroccan women working in Spain’s strawberry fields.
Produced as a Morocco, France, Spain, and Belgium co-production, the film brings a Moroccan social reality into a wider cinematic conversation about mobility, vulnerability, and justice.
