This article examines the cinematographic writing of two filmmakers in their representation of the historical figures of the French-speaking regions of Black Africa and its Caribbean diaspora. According to its etymology, cinema is a form of writing and its artistic and aesthetic ambitions are enriched by the specific use each filmmaker makes of its techniques. The analysis of David Achkar and Charles Najman’s approach to the technique of montage as used in Allah tantou and Royal Bonbon respectively is central to this paper. The methodology used here is primarily a combination of elements of semiotics and structuralism. The analysis focuses on the dynamics of the montage in the two above-mentioned films, the effects which it produces and their interpretation. The study shows that David Achkar and Charles Najman’s subjective aesthetics is freed from any dependence on established standards. Their art is an illustration of the cinematographic writing of a piece of Black African and Caribbean history by means of the biographical genre.