Diaspora refers to the disintegration of society from a central point and its social structure in the host countries. Disintegration from the homeland can be due to the pain and disasters in social memory and is reflected in social identity. The guest society which is devoted to the homeland and dreams of return, forms the diaspora. The relations of the disintegrated society with the homeland, its cultural ties and the new life practices are explored under the concept of diaspora and are contextualized in cultural studies. The films, which are the cultural products of the society in the di-aspora, are subject to identity studies in the cinema with their production forms and cultural codes. In this study, the Palestinian diaspora is examined cinema production is discussed within the scope of diaspora cinema, which Naficy calls as accented cinema. The periods of Palestinian cinema, narrative features, subject areas and the occupied forms of production of Palestinian cinema are theoretically revealed. Hany Abu-Assad’s movie Paradise Now, which caused international debate, was chosen as an example of the narrative style in Palestinian cinema, the reflection of the occupation to the cinema and the approach of the directors to the subject. The aim of the study is to reveal the complex situation caused by the occupation and its reflections on cinema. The chosen movie was analyzed in terms of accented cinema by dramaturgical approach method, the messages of the director living in the diaspora regarding the political situation of the homeland have been revealed. This study is expected to contribute to the researc-hers and the literature in the subject area.