This paper examines how films by Maghrebian women filmmakers such as Leila Marrakshi, Nargis Najjar, Assia Djebar, Yamina Bachir, Leila Kilani, Yasmina Kissari and Fatima Jebli Ouazzani construct a particular model of Maghrebian cinema that demonstrates its global cultural dimensions at a time of increasing transnational mobility. Films made by Maghrebian women have been produced and consumed in France, the US and around the world. These new modes of production combine with political, religious and national local contexts, while intersecting with the global. The films’ global circulation and multinational production show their connection to Europe and the US. Even in early films such as Assia Djebar’s La Nouba and Farida Benlyazid’s Door to the Sky France remains ever-present as a subtext. Drawing on Brian Edward’s work in which he discusses anxiety about globalization, this paper draws attention to how diasporic Maghrebian women’s cinema has transcended colonial and postcolonial theories and heralds the coming of a new era. Taking the case of diasporic Maghrebian women’s films and their global circulation, the paper explores the transnational themes of their narratives.My use of the term ‘diasporic’ refers not only to women filmmakers’ physical movement from a place, but also to the unconventional ways in which they represent women. The paper particularly examines their representation of mobilities, and views such mobilities through the lens of travel, desire and difference and circulating global commodities. The paper addresses not only how globalization has shaped the mobility of characters who transport themselves to different places, but also examines the roles that gender and sexuality play in the representation of mobilities. I am also exploring writings by relevant cultural critics that deal not only with transnational cinema but also with translocality and mobility: Hamid Naficy, Brian Edwards, Ella Shohat, and Doreen Massey among others. Therefore, both films and theoretical works are used in this paper to discuss the variety of ways mobility, gender and place are constructed in Maghrebian women’s cinema.