Created by diasporic women film directors who are located in Morocco, the US, France, England and Belgium, Moroccan women’s cinema is part of a wider cinematic production that is influenced, according to Hamid Naficy, “by its sensitivity to the production and consumption of films in conditions of transnationality, liminality /and/ multiculturality” (Wilson and Dissanayake 2000, 121). Naficy argues that transnational cinema enables films to be interpreted as authorial films as well “as sites for intertextual, cross-cultural, and translational struggles over meanings and identities” (121).This paper examines the way Mariam Touzani’s film Adam (2019) highlights the mobility of exilic characters into different spaces, where through experiential interactions with others and spatialized encounters, they create new identities for themselves. The paper draws on Michel Foucault’s concept of heterotopia, which refers to counter spaces that operate on the margin of dominant culture. The film, which highlights the theme of the transgressive woman, presents women’s spaces as variations from the hetero-normative depictions of family, and offers alternate spaces through which they seek to transcend and compensate for their marginal identities. Foucault identifies two types of heterotopia: “crisis heterotopias” and “heterotopias of deviation.” Crisis heterotopias are society’s way of putting in marginal spaces women who violate its norms. They constitute separate spaces that have been designed to host those who are, in relation to society, in a state of crisis. In Adam, the protagonist is introduced as a homeless pregnant woman who appears out of nowhere as she seeks shelter to hide her pregnancy. Her pregnancy takes place outside the home and manifests a certain stage of her coming of age. Foucault cites pregnant and menstruating women as examples of crisis heterotopias. His trope enables us to analyze the heterotopic dimension of pregnancy which is used in the film to disrupt and challenge patriarchy. It also enables us to look at how singing, dancing and cooking sequences are used in the film as means to articulate alternative feminine identities. The film critiques hegemonic forces and shows how women can transform oppressive forces into heterotopic spaces that are liberating.