The concept of dystopia, in the fields of art, firstly emerges with literature and then in cinema, finds its place with literary adaptations. Further to that, the relation between cinema and dystopia has formed its own line apart from literature. Cinema is a field of art that has the freedom to handle many related human subjects. In the human movements brought about by internal or external migrations, individuals can be dragged a dystopian universe with the processes that they life. In such cases, the utopian-dystopic situations of individuals can be the focus of cinema. For cinema contains the feelings, thoughts and related to reflections of people in social life. The element of dystopian in the cinema is shaped by the inability to find the necessary solutions to the problems existing in social life and the formation of an environment of deadlock. Fundamentally, carrying this dark-pessimistic environment to the future constitutes dystopian. The main purpose of the study is to reveal how the concept of dystopia in cinema is handled on the axis of migration. With the scope of the study, it should be emphasized that in the film “Daha” (Saylak, 2017) chosen as a sample, migrants are handled as a dystopian situation. For this reason, it is investigated how the dystopian features in the movie “Daha” (Saylak, 2017) are reflected in the film on the axis of migration. Migration situations in the film; There may be a problem with the problem of conveying the atmosphere of lack of space, darkness and disaster to the future by dominating the film. In the study, while evaluating the phenomenon of dystopian and migration reflected in Onur Saylak’s film, the sample of which was selected, the plot in the narrative structure of the film and scene the film are examined in the axis of a qualitative research model.