In the beginning of the 1970s, Bruce Lee’s action films gave a new visi bility to Hong Kong’s martial arts film industry. In many African countries, martial arts films were first distributed in small local cinemas, then by home video technologies. This paper deals with how these extraordinary cha racters fascinate their audience, the martial arts hero combining quasi-supernatural physical abilities and an ethical approach that highlights the power of individuals faced with an aggressive environment. In his play Le Kung-Fu, Dieudonné Niangouna thus combines martial arts and his work as a comedian. This appropriation of Hong Kong’s action cinema conveys a fantasized vision of China which can also be found in Alphonse Béni’s film Cameroon Connection. This time, the African director introduces Bruce Le, a Bruce Lee lookalike, to try and define the possibilities for Cameroonian action cinema.