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Tarr analyses the representation of Islam in five feature films made since 2006 that centre on the changing identities of Muslims in contemporary France. She locates the films within the context of the rise in Islamophobia in France following 9/11 and anxieties about immigration and terrorism, but also in relation to France's troubled postcolonial history and French republican ideology. In particular, the French notion of laïcité (secularism) has given rise to active hostility to any public expression of religious or cultural difference, particularly on the part of Muslims. Cinematic representations of Muslims, and particularly of the children of migrants from the Maghreb, have, therefore, since the mid-1980s, been treated with caution in order not to alienate mainstream Franco-French audiences and to facilitate the second generation's integration into French society. However, the five feature films addressed here—two mainstream popular comedies, Mauvaise foi/Bad Faith (2006) and L'Italien/The Italian (2010), and three independent, low budget, auteur-led, realist films, Dans la vie/Two Ladies (2008), Dernier maquis (2008) and La Désintégration/Disintegration (2012)—offer new narratives that challenge fears of Islam by foregrounding the protagonists' negotiation of their Muslim identities in a French context and, by implication, argue for the integration of Islam as a legitimate referent of French identity. However, their construction of Islam does not extend to positive representations of young veiled women, and they thus still risk confirming the oppressive majority view that certain practices associated with Islam, such as the wearing of the veil, are incompatible with the secularism of the French Republic.
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