Morocco is well-known as a destination for foreign film productions, with much of the action centered around the desert oasis of Ouarzazate. This location, now home to a large studio complex (Atlas), has welcomed famous Hollywood productions such as "The Last Temptation of Christ" (Martin Scorsese, 1988) and "Gladiator" (Ridley Scott, 2000). Years before these famous American examples, however, the iconoclastic Italian director Pier Paolo Pasolini (1922-75) shot his film "Oedipus the King" in Morocco in 1966. While the many Hollywood productions in the area were completely indifferent to their location—using it to represent a kind of no-place of Orientalist interchangeability (the Holy Land, Roman African locations)—Pasolini’s case presents a different set of possibilities and challenges. As many critics have pointed out, Pasolini’s films are deeply invested in their respective locations, just as the filmmaker himself was deeply invested in the idea that encounters with “Third World” peoples and places held a radical potential for rethinking the relations of capitalist modernity. In particular, the settings for films like "Scouting Locations in Palestine for the Gospel of St. Matthew" (1964), "The Arabian Nights" (1974) or N"otes for an African Orestes" (1970) were to be found in Africa and the Middle East: Persia, Eritrea, Palestine, and Yemen. While some critics have accused Pasolini of Orientalism in these films, others like Caminati and Steimatsky have argued that Pasolini’s embrace of a radical tiers-mondisme instead evinces a critical, anti-colonial stance which links queer desire and eroticism to questions of class, race, and geopolitics. Yet the particularities of Pasolini’s Moroccan experience and its afterlives have been mostly ignored by Italian-centric film theorists. Instead, it is filmmakers who have addressed them: Daoud Aoulad-Syad’s comedy "Waiting for Pasolini" (Fi intidhar Pasolini, 2007) imagines a local Moroccan extra who worked on Pasolini’s film and who is convinced he will return with a new project. Aoulad-Syad draws consciously on an earlier documentary by Ali Essafi, "Ouarzazate Movie" (2001), which features extensive interviews with local people who worked as extras on Ouarzazate’s many Hollywood productions. Combining a critical analysis of Pasolini’s Moroccan film in its transnational contexts along with an engagement with its Moroccan interlocutors, this paper will contribute to a theoretical investigation of the geopolitics of cinema in the Maghreb.