“Of the black men liking of the black men is the revolutionary act”, is it says in “Tongues untied” (untied Languages), realized in 1990 by the scenario writer, teacher, activist, and essay writer Afro-American Marlon Riggs dead of the AIDS in 1994, in this film of artist where it is question of the membership of the black identity and the merry identity and of the difficulty of representing itself in an experiment which is thought like contradictory. Being made to the echo room of singular accounts black men ridges some with the contempt homophobe black community and with the refusal of any recognition of the blacks in the Californian merry community, the characters of Tongues Untied are all exiled of themselves.  It is still question, in this film with the beauty spell-binding, with silence, arms mortifère, of not expressed anger, this humanity whose insult seeks to déchoir, and of the social death which the racism and the homophobie of the american company generate. One of the voices of film, known as as follows: “I was an invisible man, I had neither shade, neither substance, neither place, neither history, nor reflection”. The accounts which intersect, intermingled with poems with Essex Hemphill, Steve Langley, Alan Miller, songs of Nina Simone or Roberta Flack, performances rap resulting from subcultures of the ballrooms and voguing, are freed from dumbness, weaving a community of experiment and a community of action.