In his watershed feature debut BLACK GIRL, master director Ousmane Sembène offers a searing critique of colonialism’s legacy via the story of Diouana, a young Senegalese woman whose new life in France working for a white family gradually reveals itself to be a trap. In this edition of Observations on Film Art, Professor Jeff Smith deconstructs Sembène’s multilayered use of dialogue and language, exploring how the central character’s outward terseness (what the director called “a defensive muteness”) contrasts with the film’s use of voice-over, which makes the viewer privy to Diouana’s inner thoughts as she grows increasingly disaffected with her situation. That both are expressed in French—the language of the colonizer, which Sembène’s funders required him to use—only enhances the film’s devastating portrait of cultural alienation.