This chapter describes the contact zones of revolution between France and Cuba in the early 1960s through an analysis of Chris Marker’s Cuba Sí! (1961) and Agnes Varda’s Salut les Cubains (1963). We suggest that each filmmaker depicts revolution as an event and as an idea. We investigate the formal and political “edges” that emerge in these films, and in the historical and social influences of the French and Cuban contexts, through the figure of the spiral. The movement of the spiral informs our concluding reflection on the contact zone of (intergenerational) co-authorship and the logics of influence that destabilize the (historically) contained event, opening instead to the flows, returns, and rhythms of revolution.