The paper analyses the movies produced by the local producers from Hyderabad city, India. Hyderabad metropolis is the fourth most populous state in India and sixth largest contributor to India’s Gross Domestic Product. The movies are made in the lingua franca of the Hyderabad city – Deccani or Hyderabadi Urdu language. The movies are produced for local consumption in the Hyderabad city but they are also globally popular among Hyderabad immigrants in US and UK and in the middle-east countries. The movies represent the under-represented religious minority Muslims and the Old City space of Hyderabad. The paper explores the marginalisation and exclusions of Muslims socially, culturally, and spatially through the movies. The spatial linkage of the Muslim minority, Old City and marginalisation is explored through the movies. The Deccani language which dominated the city of Hyderabad before becoming the capital of newly formed Andhra Pradesh state in India. But later it is pushed to the fringes and became the language of ‘other’ in the city. To understand the rise of these movies tied to a certain region and language, other local regional cinema of Bhojpuri and Malegaon are compared and the movies which have spatio-cultural linkages try to assert the linguistic, cultural and regional identities. The movies employ humour in form of buddy comedies and caper comedies. The movies by use of comedy by marginalised subvert the stereotypes, confront the stereotypes by subverting it and throw open the important questions about poverty, discrimination. The paper also explores the relation of the Muslims and the Hyderabad city, and how they perceive, navigate and claim the city as more than a Flaneur. The protagonists of the movies go beyond Walter Benjamin’s Flaneur who refuses to stay in the margins but performs to rise above the flows of the city.