Drawing on historical and cinematic references, Zineb Sedira's practice departs from a post-colonial framework by challenging notions of identity, memory, and resistance. Zineb Sedira has collected a number of quotes from militant films that she inserts into illuminated signs inspired by 1960s Hollywood billboards. Although the words selected by Sedira come from different films, among which Ettore Scola’s Le Bal, or Gillo Pontecorvo’s The Battle of Algiers, they seem to voice a single message, that of the so-called tiers-mondiste cinema which tackled anti-imperialism, the post-independence political reconstruction, and the fight against racism and sexism. Zineb Sedira extracts positive slogans from these rather dark movies, to express that it is possible to “talk about politics with humour, and in a joyful manner”. She allows us to imagine what the billboards of these militant films would have been. By granting them a celebrity in hindsight, she proposes to establish and transmit new milestones in the history of cinematic art. The No Matter What light-box transcribes Zineb Sedira’s last spoken words in her own film Dreams Have No Titles in Arabic. She inserts her own body of work in the lineage of militant directors she admires, through a gesture of mise en abyme similar to a cameo. It becomes her turn to claim that there is “a way of surviving and resisting through text”.