Djibril Diop Mambéty's exuberant, inventive and urgent film Touki Bouki (1973) follows a young couple, Mory (Magaye Niang) and Anta (Myriam Niang), who dream of leaving their home in Dakar, Senegal for an imagined better life in Paris. Rosalind Galt's insightful study analyses Touki Bouki's cinematic worlds as a narrative of postcolonial migration influenced by international film style, but nonetheless grounded in African visual cultures and critical perspectives. Touki Bouki highlights the intertwined histories of the postcolonial and the transnational, exploring how the aesthetic and political ideas found in the experimentation of cinematic modernisms and New Waves are as African as they are European. Galt's study interweaves a conceptual framework of world cinema studies and anti/decolonial theory with close analysis of Touki Bouki's innovative audiovisual forms and its representations of desire and identity in postcolonial Senegal. Providing a detailed reading of the film's themes and cinematic style, she argues for its classic status and for its enduring influence on world cinema.