In L'enfant endormi, Moroccan director Kassari shows how "burning" or crossing the borders illegally to become an immigrant in Europe is perceived by the women left behind. This paper will show how the initial male crossing of borders constitutes a motif that gets deployed on several levels in the film, including: a) the production (it is a transnational production with Belgium and Morocco); b) women's micropolitics (women cross the boundaries of what is permissive); c) international economics and politics (emigration, immigration); d) communication (from letter writing to audiovisual devices; from Arabic to Tamazight); e) myths (the myth of the sleeping child in his mother's womb waiting to be born). Thus, the term "burning" (the Maghrebi term used for emigrating illegally), becomes the central vehicle in the filmic narrative to show how immigration causes immense shifts in the local rural culture of Morocco. This paper will further show how the nexus of themes related to crossings haunts the filmic production of the Maghreb.