The aim of this article is to explore how the 2008 film Dernier maquis, by Maghrebi-French director Rabah Ameur-Zaïmeche, attempts to correct a perceived absence in French cinema of Islam by focusing its narrative on the conflict that ensues between Mao, a French Muslim boss, and his Muslim immigrant workers, when Mao unilaterally appoints an imam to preside over the mosque he has constructed for his workers in a pallet yard located on a remote industrial estate on the outskirts of Paris. The article analyzes how, in Dernier maquis, Ameur-Zaïmeche combines issues of class struggle and exclusion of the immigrant worker in contemporary France, with the potentially problematic place of ethnic and religious difference within the Republican nation.