For An Imperfect Cinema by Julio García Espinosa has been regarded as a manifesto for the New Latin American Cinema which argues for a revolutionary cinema that answers to people’s needs rather than relying on Western aesthetics standards. Resonating this anticolonial theme, Ousmane Sembène’s La Noire de… exemplarily directs attention to neo-colonialism, alluding to the transnational ‘maid trade’ by relating the story of Diouana, a young Senegalese woman who becomes trapped as a domestic servant in France. Remarking on one of the most essential positions in this revolutionary cinema, Espinosa emphasizes the role of artists as “lucid” people “who think and feel and exist in a world which they can change'' (9). Especially, when it comes to the cinema, Lesley Stern (2012) suggests that objects can also be “actant,” which means “they too act, they too do things, they too make you do things” (11). Throughout Sembène’s film, the symbolism of Diouana’s mask evolves to denote the complicated relation between the colonizer and colonized. While Senegalese masks represent subjectivity, agency and community, the white-dominated setting tries to commodify them while rendering Senegalese people as mere means or objects. Reading the mask in La Noire de… as a possible site of anti-colonial resistance emphasizes the revolutionary humanity and compassion of the colonized subject on screen. To that end, this presentation places La Noire de… in open conversation with For An Imperfect Cinema, paying special attention to the visual language adopted by Sembène. Experimenting with reading objects as revolutionary agents, I argue that Sembène’s mask in La Noire de... embodies Espinosa’s vision of a lucid agent of change in the Imperfect Cinema while also expanding on Espinosa’s idea by highlighting folk art as a revolutionary force.