Morgen (2010) and The Other Side of Hope (2017) explore the theme of illegal migration through the lens of provincial life in a Romanian border village and in the outskirts of Finnish town, respectively. Both films exemplify the genre of dramedy, blending comedy and drama to portray characters with significant potential but constrained by their circumstances. The films focus on acts of male compassion and hospitality, subverting stereotypes about middle-aged, uneducated men living far from urban centers. In this chapter, I compare the portrayal of hosts—Nelu Manciu and Waldemar Wikström—and refugees—Behfan and Khaled. Both hosts emerge as embodiments of humanitarianism, challenging common representations of such characters as inward-looking and closed to outsiders, while simultaneously remaining half-comic figures. The refugees, in contrast, are portrayed as largely helpless, navigating their precarious situations with quiet resilience and silent pain. Kaurismäki’s Khaled stands out as a multidimensional character, emphasizing dignity and individuality, while Crișan’s Behfan remains largely alien and arcane, defined more by his foreignness than his personal story. The interpretation of both films centers on the concept of “peripheral cosmopolitanism,” where solidarity and hospitality stem from traditional values like neighborly care and rural customs. The relationship between host and refugee is presented as an equal partnership, emphasizing mutual responsibility.