In their manifesto, “Towards a Third Cinema,” Solanas and Gettino seek to revitalize cinema’s role in revolution and liberation. Third Cinema and its project of decolonization rely on an investment in the audience’s active spectatorship-one that does not merely observe; instead, through witnessing the truth of its oppression, the audience challenges (neo)colonialism and the colonial production of national histories. Solanas and Gettino’s model of Third Cinema applies not only to the ‘Third World’, but is also connected to and informs alternative world cinema. The concept of alternativity, however, may be more conducive to Solanas and Gettino’s goal of combating (neo)colonialism because it signals a less marginalizing framework for discussing ‘Third World’ films. Indeed, the discourse of marginality that circulates through the use of the term ‘Third World’ may be applied unintentionally to discourses on Third Cinema. Thus, although it is productive to examine Solanas and Gettino’s model of Third Cinema, it is also necessary to move toward theories of alternativity in order to trouble the limitations inherent in the concept of a ‘Third World’.