Djibril Diop Mambety has liberated African cinema from the prosaic form and content which characterized its beginning. “African cinema has a revolution to accomplish,” he declared, “and we will only achieve it by proposing new forms.” This article proposes to study these new forms in his film, le Franc (1994), by analyzing : The re-appropriation of African traditional culture. For instance, the “fantastic” elements, which characterize oral tales, occupy an important place in this film and place it within the sphere of magic realism. Montage in alternating syntagms and filming carry meaning, for instance, they accentuate the impression of solitude of the hero and emphasize the contrasts which characterize Dakar. For this analysis, we have adopted the theoretical tools suggested by James Monaco and Christian Metz. Music is used as a narrative entity. Mambety gives it a significant place in this film, by means of a great variety of instruments and of musical styles. By inventing a new language and new forms, Mambety has accomplished a revolution in film making.