Postcolonial studies mainly deal with the issue of colonialism, its consequences during the colonial period and the new forms after it. One of the areas that effectively challenges the discourse of domination is the field of art, especially cinema. This research has dealt with colonialism and its consequences from the perspective of a filmmaker belonging to the New Wave cinema in the 1350s To show Parviz Kimiawi's perspective on colonialism in the film OK Mister.The structure of the film is formed from two main parts connected by a middle part. In the first part, it deals with dual oppositions from the perspective of Edward Said and in the second part, it deals with Homi Bhabha's theory on the interaction and intertwining of cultures .The film depicts a village that is a symbol of Iranian society, and whose oil wealth has been plundered due to the alienation of its people, resulting in their surrender to humiliation, but the path to salvation lies in having a conscious leadership to guide the society towards the cultural values and authenticity of ethnic and national civilization. In the end, the villagers, with the guidance of the village elder, return to their past traditions and lifestyle and drive the strangers (colonizers) out of the village. In this film, Kimiawi mostly uses the long shot technique in an allegorical and symbolic expression to reflect the spirit of rural life and represent the primitive/civilized. This research, in a descriptive-analytical manner and based on the theoretical framework of the research, has addressed the issue of colonialism, especially from the two economic and cultural dimensions and the interaction of each on the other in Iran in the fifties from the perspective of a filmmaker.