In Amazigh transnational cinema, filmmakers draw from various cultures, memories and attachments. Their background is multilingual and multicultural as they navigate various spaces: their native countries, their diasporic home, and the various countries they roam to seek funds or to promote their films during film festivals. I will discuss the trajectory of four filmmakers: the Moroccan Mohammed Abbazi through his film Itto Titrit (2013, 113 min), one of the first films to be shot in Amazigh; the Algerian Blekacem Hadja through his film Fadhma N’Soumer (2014, 110 min); the Algerian Amor Hakkar through his film The Yellow House (2008, 85 min) and the Moroccan Yasmine Kassari through her film The Sleeping Child (2004, 95 min). I will use Lefebvre’s theory of space that emphasizes the interplay between the production of space and the space of production. Lefebvre argues that if “space is a product,” then the object of our interest must “shift from things in space to the actual production of space,” that is, from space as a fixed entity to space as a “productive process” that induces change and is subject to revision.