Lütfi Ömer Akad’s Migration trilogy has occupied an important place in the history of Turkish Cinema since its made. These films were evaluated in various axes such as village-city, eastwest, traditional-modern under the intense discussion environment and the wave of migration from the villages to the city. Films focusing on the struggle for survival of this new population, which is described as the death of the peasantry as a result of this migration wave; on issues such as unionisation, squatting and Turkey’s capitalization process has opened the door to the discussions which are riches and very different tones from each other. In this study, unlike the aforementioned discussions, films are considered as a visual presentation of the attenuation of the masculinity codes, which have come to the forefront with the disappearance of the dominant protection networks. The crisis that emerged as a result of the interruption of security networks has resulted in increasing the effective role of women in social life and in their relations with men.