The conflict sometimes escalates to open statements of hostility. Youssra's expressive capacities are stronger even though throughout the film Kokitta displays what amounts to an impressive show of impertinence, loudness and physical prowess which she uses to attract the influential men and dispense with the less powerful. In one scene we watch her pulling one of them by his tie like a sheep and hands him to Amina who continues to pull him to the front door in the midst of threats and insults. Such power can quickly become brutal, as in the scene when Amina asks permission to resign and return to her modest family to look after her sister, marry the man she loves and bear children before it is too late. Love, though, is an emotion that does not exist in a world of business, which relies on sexual commerce.
Marriage is only possible when it becomes a cover for dubious relations.
In order for Kokitta to force Amina to remain she frames her for prostitution and watches as she is taken away from her mother and two sisters to a police station. In revenge, Amina carefully plans Kokitta's fall using the videos and the help of the policeman responsible for watching the house and reporting on its customers. There is no doubt that Inas El-Degheidi is a bold filmmaker. She possesses a perspective which conforms to the traditional idea of a woman as someone who either determines the male's direction or is determined by it. Women's bodies and voices are sex-tools, successfully used to appeal to the public.