In the last twenty years, the phenomenon of migration has raised questions that are troubling society and that cinema in turn questions. As a means of study, the latter provides the history of the exiles with a reading tool and, consequently, shows how society deals with otherness by relying on the figure of the stranger. By exiles, we mean: immigrants, deportees, expatriates, illegal immigrants and the undocumented. From a sociological point of view, exile is envisioned from the place it occupies in the various mechanisms; administrative and legal. Exile is in fact considered a subject, in a passive mode, and not as an active agent. However, the identity nature of a group is not determined solely by the relationship defined by the social classification institutions. It is also defined in intersubjective relations and more broadly by its respective place in the spectrum of ideology and representations. This research questions the stories of exile in relation to their film representations. We propose to grasp the mode of appearance of these stories in the cinema through an essentially narrative approach. The history of cinema interests us in the sense that it apprehends an epoch, a movement, and a mode of production as variable realities, in perpetual change. It has a hermeneutic vocation because it operates at all levels and interacts with other disciplines such as sociology and anthropology.