Driving "Back Home" in Response to the Illness of Immigration in IsmaIl Ferroukhi's Le Grand Voyage (2004) In 2004, Moroccan Ismaal Ferroukhi releases Le Grand Voyage, identified by critics as a "road-movie," in which a father decides to fulfill his religious obligation of the hajj. The old man chooses to go to Mecca by car and requests that his son Rada drive him to the Holy Land. During this long trip, which takes the two protagonists across several countries in Europe and the Middle East, the two men confront their various generational, cultural, linguistic and spiritual differences. Using a Derridean approach and French historian Benjamin Stora's work on immigration, I will strive to offer an original reading of the film Le Grand Voyage. I will try to show that the father deconstructs his son's western modes of thinking and French way of life, as well as unties him from his stereotypes, and conscious and unconscious resistance to the Muslim part of his hybrid identity. I claim that the journey is a pretext for the father to "de-Frenchisize" his son Rnda in order to bring him closer to his lost Arab identity. Various scenes in the film show the father molding his son by way of examples and parables. A major scene, which constitutes the focus of my talk, shows the two men bundled up in woolen blankets. I claim that this imagery presents the father and son as Sufi master and disciple. I therefore argue that this film uses a mystical mode of teaching to tackle modern preoccupations of Maghrebi immigrants and their sons, and most importantly the future of their community in France--a country deeply attached to its secularism and republican values, leaving minimal space to religious freedom, linguistic diversity and cultural singularity. Ruda is portrayed as dismissive of the Arabic language, and ignorant of Islamic principles. I argue that this trip is a pedagogical "return home," that of origins. These origins both linguistic and spiritual are explained again to Ruda, a learner on the path to highly symbolic Mecca. Among the several readings one might do of Le Grand Voyage, the film subtly proposes the imparting of a knowledge that the father feels compelled to transmit before his death, which symbolizes the dying generation of migrants in France, who are entrusting their children with the last bits of their identitarian heritage.