[6] Will Higbee furthers the idea of "transvergent" filmmaking as a cinema that, "views the exchange between the global and the local not as taking place within some abstract or undefined 'global framework'."

When asked about her influences, Amari responded in an interview with Indiewire that they include François Ozon and Arnaud Desplechin.

-Raja Amari, Interview with Bouziane Daoudi in Zeitgeist Films[1]Satin Rouge follows widowed Tunisian mother Lilia, (Hiam Abbas) as she radically transforms from housewife to cabaret dancer.

The women are very different from Lilia: they wear colourful clothing, they are showing their midriffs, and they are dancing in a sensual manner to the drumbeat.

After befriending the lead dancer, Folla (Monia Hichri), Lilia is convinced to start dancing in the cabaret club.

When at the start of the film she is seen as a sad, bored, and submissive woman who rarely leaves the comforts of home, she is now a dominant matriarchal figure, which is reestablished with Lilia's glance in the mirror at herself prior to Chokri and Selma's arrival.

"[9] -Raja Amari, Indiewire, August 20, 2002Amari’s work, particularly Red Satin has been argued to have opened up new avenues and opportunities for the portrayal of Tunisian women in film and society.

Author Stacey Weber-Fève asserts that Amari’s portrayal of the protagonist, Lilia, performing housework in the first few scenes of the film, “captures concretely the possibility for (re)appropriating female representation in contemporary North African cinema.”[6] She also asserts that Amari, “levies new debates addressing interpretations of performances of women’s traditional roles and desire for self-expression in contemporary Tunisian society by engaging in a multilayered manner the ideological implications of this traditional social construct of the housewife and her comportment.”[6] In Melissa Thackway and Olivier Bartlet's review of the 2015 Panafrican Film and Television Festival of Ouagadougou (Festival Panafricain du Cinéma de Ouagadougou, FESPACO) in "FESPACO 2015: After the Transition, What Next?

They noted that the film was "a quality television drama about a group of young musicians' diverging response to the turbulence of the Arab Spring.