This chapter considers examples of Australian cinema that bring into relief various aspects of migration. Many of the best Australian films provide exciting and nuanced interpretations of national self-fashioning that challenge and subvert our traditional understandings of what Les Murray has called the vernacular republic. Specific cinematic techniques such as flashbacks, rhythmic structures, montage and storytelling are the techniques deployed by filmmakers to maintain our attention. One important feature is a style of film-making which includes open and closed forms of visual approaches and fragmented, multilingual and self-reflexive subject matters like journeying, identity, displacement and social dislocation. Simpson establishes a typology to simplify the broad complexity of contemporary Australian migrant cinema and the different types of representations that have featured in recent years. Two scholars who have sought to categorise migrant cinema but also acknowledge the problematic aspects of the category are Laura Marks and Hamid Naficy.