In this thesis, the theoretical implications of the African Revolution for the entanglements of postcolonial urban space are explored through examination of radical cinematic inventions. It tracks points where the cinema screen became a site of radical gathering and ambitions of cinema emerged that expressed a revolutionary desire. The thesis maps out a relational geography between different late liberation struggles of the 1970s and 1980s, a relational geography that is produced by cinema in the networks of connections lived out and constructed through radical drives. The exploration of aesthetics of liberation is the point of departure to investigate how screens, as urban surfaces of projection and reflection, appearance and masking, emerge from the world and have material and psychical effects in the world. In the entanglements of cinema with radical politics, the memory of Revolution, after the event, re-emerges in unexpected forms and figures, which prompt a re-thinking of the notion of the screen. In the urban spaces of Ouagadougou, Maputo, Lisbon, and other cities that have been sites where cinema was an agent in Revolution, the thesis investigates appearances of psychical and material screens that may be sites of intensity in the formation of subjectivity, or surfaces across which the past flickers, its dreams of the future and its disappointments folded into the present.