Laïla Marrakchi on New Colonialism and the Visibility of Women

It is a jarring contrast that defines the soul of Miami. On one hand, you have the neon-soaked luxury of Brickell and the high-fashion runways of Design District; on the other, there is a silent, invisible army of laborers who keep the city’s machinery humming, often living in the shadows of the very paradise they help maintain. When news breaks from the Cannes Film Festival about Laïla Marrakchi’s new film, Strawberries, it might seem like a distant European story about Moroccan women in Spain. But for those of us living in the 305, the themes of “new colonialism,” systemic abuse, and the erasure of migrant women feel uncomfortably familiar. Marrakchi’s focus on the “invisible” women of the strawberry fields mirrors the precarious existence of many undocumented workers right here in South Florida, from the agricultural fringes of the Everglades to the back-of-house operations in our luxury hotels.

The Architecture of Invisibility: From Cannes to Miami-Dade

In her homage to the Moroccan fruit pickers, Marrakchi describes a “sad form of new colonialism.” This isn’t just a cinematic plot point; it is a socio-economic blueprint. In the context of Strawberries, the exploitation is geographical and gendered, utilizing the vulnerability of women crossing borders for a chance at survival. In Miami, we see a similar pattern. The city acts as a gateway, but for many, that gate is a revolving door of precarious employment. The “visibility” Marrakchi strives for in her Un Certain Regard entry is exactly what is missing in the local discourse regarding labor rights for migrant populations.

When we look at the systemic nature of this exploitation, we have to acknowledge the role of institutional oversight. In Miami, the local legal aid networks often struggle to keep pace with the sheer volume of wage theft and harassment cases reported by non-English speaking laborers. The film’s exploration of #MeToo issues within the migrant workforce highlights a terrifying reality: when your legal status is tied to your employer or is non-existent, the power imbalance makes reporting abuse a gamble with deportation. This represents where the “new colonialism” manifests—not as a flag planted in soil, but as a total control over a person’s movement, body, and economic destiny.

The Intersection of Art and Human Rights

The decision to premiere Strawberries at Cannes suggests that the global artistic community is beginning to treat migrant labor not just as a backdrop for tragedy, but as a central political critique. For Miami, a city that prides itself on being a cultural crossroads, this is a call to action. The University of Miami has long conducted research into the socio-economic impacts of migration, yet there remains a gap between academic understanding and the lived experience of the worker. By bringing these narratives to the forefront, filmmakers like Marrakchi force the viewer to acknowledge that the “cheap” produce or the “affordable” service is often subsidized by human suffering.

the narrative of the “invisible woman” is particularly potent. Whether it is a Moroccan picker in Spain or a Caribbean domestic worker in Coral Gables, the intersection of gender and migration creates a unique vulnerability. These women are often the primary breadwinners for families thousands of miles away, a fact that exploiters use as leverage to ensure silence and compliance. This cycle of dependence is the engine that drives the modern-day slavery Marrakchi is calling out.

Addressing the Local Fallout: A Resource Guide for South Florida

While a film at Cannes can spark a global conversation, the actual work of dismantling these systems happens on the ground, often in small offices and community centers across Miami-Dade County. Given my background in geo-journalism and community advocacy, I know that when these global trends of exploitation hit home, the most critical asset a person can have is a specialized professional network. If you or someone you know is facing the types of labor abuses, harassment, or legal vulnerabilities highlighted in Strawberries, you cannot rely on generalists.

Navigating the intersection of labor law and immigration status requires a surgical approach. You need professionals who understand the nuances of the South Florida social services landscape and have the teeth to challenge powerful employers.

Specialized Immigration Law Attorneys (T-Visa & U-Visa Experts)

Standard immigration lawyers handle green cards and visas. However, victims of trafficking or severe abuse need attorneys who specialize in T-visas (for victims of human trafficking) and U-visas (for victims of certain crimes). When searching locally, look for practitioners who are active members of the American Immigration Lawyers Association (AILA) and have a documented history of working with the Miami-Dade County Human Trafficking Task Force. They should be able to explain the “certification” process required from law enforcement to qualify for these protections.

Labor Rights Advocates & Wage Theft Specialists

Exploitation often starts with “under-the-table” payments and evolves into wage theft. You need legal advocates who specialize in the Fair Labor Standards Act (FLSA) and have experience filing complaints with the Florida Department of Economic Opportunity. The right professional will not be intimidated by an employer’s claim that the worker is “undocumented,” as labor laws in the US generally apply to all workers regardless of their immigration status.

Trauma-Informed Intercultural Psychologists

The psychological toll of “modern-day slavery” is profound. Recovery requires more than just a therapist; it requires a clinician trained in trauma-informed care specifically for displaced populations. Look for providers who offer services in the patient’s native language and who understand the specific cultural nuances of migration trauma. Certification in EMDR (Eye Movement Desensitization and Reprocessing) is often a gold standard for treating the PTSD associated with systemic abuse and harassment.

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