Dominique Cabrera, born in Algeria, directed her first documentaries in 1991: Rester Là-Bas, a film about pied-noirs who had taken Algerian citizenship and, Un Balcon au Val Fourré, Chroniques d’une Banlieue Ordinaire, a film about the history of a tower block. She followed these in 1992 and 1993 with Rêves de Ville and Réjane Dans la Tour. In 1995, Une Poste à La Courneuve explored the relationships between public service employees and its users. In 1995, Demain et Encore Demain marked the beginning of a series of autobiographical documentaries which she followed up with Ranger les Photos, 2009, Grandir, 2010 and Mensch, 2023. In 1996, she used contemporary Algeria as the starting point for her full length feature, L’Autre Côté de la Mer, whose lyrical realism would blossom into Le Lait de la Tendresse Humaine in 2000, Folle Embellie, in 2004 and Corniche Kennedy in 2017. With Nadia et Les Hippopotames, Ça ne Peut Pas Continuer Comme Ça, Le Beau Dimanche, Notes sur l’Appel de Commercy, Je Marche Avec #noustoutes and Je ne Lâcherai Pas Ta Main en 2022, she continues to make openly political films allowing herself great freedom regarding duration and form.