Released in 2006 in France, Rachid Bouchareb’s movie Indigènes (Days of Glory) concentrates on the contribution of North African soldiers in the liberation of France during the Second World War in its battle against the German Nazi occupiers. The film features prominent actors from Maghrebian origins like Jamal Debbouze, Samy Naciri, Sami Bouajila, and Roschdy Zem and won the 2016 Cannes Film Festival Award for Best Actor. Some critics relate the movie’s success to its role as a militant film that demands urgent action from the government and its ability to transform the French public perception of indigenous North African soldiers into France’s collective memory and historiography. This paper sets out to analyze issues of authorship, genre and reception in Rachid Bouchareb’s movie. It explores how Bouchareb positions himself as an author/ historiographer who commits himself to the rewriting of France’s official history by incorporating the Beur community into the space of the nation and by relying on the star images of his successful A-list actors to serve as models of integration for youths from Maghrebian origins. It equally articulates how the film does both consolidate and challenge the conventions of the American war film genre by its reliance on the myth of the able-bodied, heterosexual hero soldier whose needs for domesticity are replaced with “hegemonic” iterations of masculinity that could be expressed only alongside other subordinated “fragile” ones. It also interprets the use of distinctive aesthetics from the American war film genre such as photography, editing, multiple short shots, and huge explosion sounds. It finally analyses how the film has been received in France, the UK, and the USA and the ways by which it offers different strands of cinematic transnationalism by studying the online customer reviews, star ratings, and the physical altering and modification (mainly the DVD covers, the placement of logos and translations of the movie title) in its circulation outside its “national” boundaries.