The Wedding Dress is an embroidering road movie across the continents. An intimate and personal yet universal story of love, family and violence that unfolds as we follow the desires of Anna Senno to create a most peculiar wedding dress.

 The big satin duchesse fabric that Fatema, my chosen mother gave me one afternoon in her sun-drenched apartment in Casablanca, was meant to become my wedding dress. It never did. Violence, shame and rootlessness has been a ruthless repetition in my life. One day we learned that Fatema was dying and I woke with the vision of a dress filled with beautiful, colourful stitches made by women around this world. The soothing vision was turning my wounds into ornaments and showed me a path: the genesis of the film and a last journey to take with Fatema. 

The choice of embroidery is no coincidence. It connects the past and present, telling both Anna's personal but also our broader human story. It is a tapestry of encounters, journeys, and exchanges. It represents a common yet distinct heritage, primarily created to adorn and beautify, often crafted by women. Embroidery testifies to an ebbing past where time hardly mattered, following a vagabonding needle and the secret confidences of women, whose imagination built traditions, belonging, and senses of home.

As Anna travels, the creation of the exhibition Chemin de Croix also unfolds. The title is symbolic, meaning “Stations of the Cross.” It is a series of paintings on leather that, like the film, deals with liberation. Together, they tell the naked story of someone beginning to understand her wounds, her identities, and her struggle for freedom away from fear. But they also touch upon—and above all—something deeply human and universal: the need to belong.