The next day, as she returns home, she faces her mother, brother, sister, sister-in-law and niece who are anxiously waiting for her.
Ruba Nadda stated that she got the inspiration to make the film while she was a student at York University; she observed a veiled Muslim woman on a public bus and wondered how she would have dealt with her sexual feelings,[1] and then, how she would have managed affairs if she became infatuated with a non-Muslim man.
Nadda had the concept of a "very western looking man" and a woman wearing a hijab kissing "in the middle of the street.
[1] Nadda stated that she wanted to portray Toronto as being a beautiful city, contrasting with a gritty depiction found in other works.
"[2] Nadda intentionally omitted any references to the Israeli–Palestinian conflict, the September 11, 2001 attacks, other acts of terrorism, and any resulting sentiment and actions against Arab Canadians.
[10] Each shot had the colour blue, with red and green also present in smaller amounts; the visuals received inspiration from paintings by Sir Frank Dicksee, Jean-Léon Gérôme, and Edward Hopper.
[11] Deborah Young in a review for Variety stated that Sabah's family previously had "drawn" a "hard line" so the "[T]urnaround ending, though comically inevitable, seems dramatically forced".
[12] Steve Erickson of Gay City News argued that the film's premise of "multi-cultural bliss" "feels mighty hollow" since this is "a world where tribal and ethnic tensions aren’t going away any time soon".