The digital revolution has contributed to the unprecedented transformations of entire industries worldwide. Filmic industry has been one of the venerable fields which have seen in-depth changes. These transformations are not else yet a response to the acceptance of the internet and the first-time success of digital platforms. Its more fast-paced and far-reaching scale mainly in its distributional and exhibitive dimensions is a two-faced weapon. Its hidden homicidal dimension recalls our attention to rethink the position of Amazigh cinema in Morocco. This hypothetic-deductive analysis seeks therefore to unearth the soft power of distribution and exhibition of local cinematic products as a self-destruction. YouTube offers the chance for irregular distribution and exhibition which results in the vilification of Amazigh film and stereotypical judgments on its quality. This arena of concern has yet alas received much scholarly and policy attention. Ethnicity self –based vilification has brought about the grown systematic subordination of the Amazigh community. Capitals rising through subscription as well as fame-seeking are in frequent risk of perpetuating negative stereotypes about Imazighen. Cultural activists and think-tank are accordingly burdened to expatiate new policies that will sustain the reinvigoration that digital technology has made to film as a transnational product in its new rival.