Given the intertwined relationship between France and Algeria at the time of the French-Algerian war, the situation of pieds noirs and harkis was already a complex one that would seem to transcend and complicate the nationalist identification needed to go to war for one’s country. The reluctance of the French to discuss the French-Algerian war on any profound level is well known; on the other side, Algerian depictions of the war have not always been easily produced or widely available. Missing has been the Algerian point of view of the war as seen from within Algeria, although there are films such as Vivre au paradis (1998) by Bourlem Guerdjou – born in France of Algerian descent– that treat the subject of Algerian immigrants living in France during the war. Since the 1975 Algerian production Chronicle of the Smoldering Years, popular films by Algerian filmmakers about the war itself have been needed, although again the question of who is ‘Algerian’ enough to achieve this is complex. La Trahison (2005) was made by a pied noir and is the story of harkis in a French army unit; Cartouches gaulouises (2007), made by Algerian-born Mehdi Charef, tells the story from a child’s point of view; L’ennemi intime (2007) also follows a French platoon in Algeria; Mon colonel (2006) diverges again from Algeria in investigating the murder of a French colonel in Paris 20 years after the war. The documentary Woman Is Courage narrates the story of Algerian resistance fighter Louisette Ighilahriz. What can we piece together from these films about what the war was for ethnic Algerians and in which sites it took place? We know that in La bataille d’Algers (the most important film on the topic, made by an Italian), the Algerians attack the French in public spaces – on their boulevards, in their cafés – while the French invade the Algerians’ homes and places of work. This paper will explore the modern depiction of these battlefield spaces as seen by transnational Algerian/French filmmakers.