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In this article I will review the film Dogville by Lars Von Trier through the perspective given by Hamid Naficy in his book An Accented Cinema: Exilic and Diasporic Filmmaking. The main purpose is to understand how identity is described and performed through the allegory of Grace and the image of the refugee, and the role homelessness and displacement play both for the filmmakers and the content of diasporic films. I will demonstrate how the relationship between minority (Grace-the refugee) and the majority (the population of Dogville) is a topic of transnational cinema, and which conclusions can we make by taking into account the role of identity and sense of belonging for transnational productions.