Cinema has a very functional feature especially in the narration of Siyar with its features such as watching the subject with pleasure, learning what is watched quickly, easily encoding what is learned in the mind and transferring it to others. In a way cinema, with its technical possibilities, adds concreteness and emotion to the ‘dry’ historical narratives on the pages of books. In this study, it is discussed how some Siyar-Meghāzī subjects in the Medina period are described as information in the “Message Film”, which is the first cinema production about the life of Prophet Muhammad. The aim of the study is to compare some of the information about Siyar in the Medina period conveyed in the “Message Film” with the information in the first period Siyar -Meghāzī sources and in a way to determine whether the information given in the film about Siyar in the Medina period is correct or not. In this direction, considering the limitations of the study, some of the main issues in the Medinan period were analysed in the film in a comparative manner with the sources of Islamic history. The fact that cinema has an artistic aspect leads to the presence of fiction, imagination and interpretations in the productions, which sometimes causes history not to be conveyed completely and accurately in films. Therefore our study is important in terms of revealing the erroneous narratives that occur in the transfer of Siyar to the screen through the sources in the “Message Film”. In the study, by using the document analysis technique, one of the qualitative research methods, the sources of Islamic history in the genre of Siyar-Meghāzī were examined and current books and encyclopedia studies on our subject were also used. The following findings were made in the context of the study: In the film, it is stated that Muslims welcomed the Prophet in Medina with the hymn “talaa’l-bedru alaynā”. However, the “Wadā’ of Hill” mentioned in the hymn is in the opposite direction of the route from Quba to Medina. Therefore, it is not possible that the Prophet used this route during his migration to Medina. In fact, this hymn was sung for the first time by those who were waiting for the Islamic army returning from the Tabuk expedition on the “Wadā’ of Hill. In our sources, it is clearly stated that the reason why the wells in Badr were closed by the Prophet before the Battle of Badr was a war strategy. In the film, the wells are closed by the Muslims without explaining the reason before the war. The fact that it is not explained in the film that this is a war strategy may create the perception in the audience who do not have enough information on this subject that the Prophet was merciless to his enemy and wanted to torture them by leaving them without water. In the sources of Siyar-Meghāzī, it is reported that the articles of the Treaty of Hudaybiyah were determined as a result of negotiations between the Prophet and the polytheists. However, it is narrated in the film that the articles were prepared by the polytheists before the negotiation and proposed to the Muslims, and the Muslims approved them without expressing an opinion. In the scene of the Farewell sermon in the film, there are issues that are not mentioned in our sources such as helping the poor, the Prophet’s announcement that the angel of death will come to him soon, while some common expressions in the Siyar sources such as the abolition of all interest and blood feuds in the Jāhiliyya period by the Prophet and the rights of women should be respected are not mentioned in the film. These determinations show that it is important for filmmakers to make use of classical Siyar-Meghāzī type sources and for the audience to be conscious in order to explain and understand Siyar correctly.