After leaving Iran, Makhmalbaf became a displaced filmmaker, making various “accented films.” This article’s goal is to analyze the transnational storytelling and identity issues that were trademarks of his artistic creativity long before his emigration. Since late 1980, Makhmalbaf has introduced innovations within the framework of discursive orders, giving voice to marginalized characters and moving away from the cause-and-effect narrative in favor of a polyphonic narrative or one based on an aesthetic leitmotif. His ability to weave alternative narratives, based on sensual perception, inspired other filmmakers to explore themes like exile, and cultural identity similarly. Moreover, by working with international production companies and filming in various countries, the artist has shown the potential of cross-cultural collaboration in filmmaking.