This paper proposes to consider the Vietnamese director Tran Anh Hung's 1995 film Cyclo, a work that we might call post-Francophone in that it signals a connection to the Francophone world even though not a word of French is spoken in the film. The film bears traces not so much of a French colonial past (as in his earlier film l’Odeur de la papaye verte [1993] and, as it happens, most films depicting Viet Nam) but of a contemporary neocolonial trade. This connection is marked in the opening credits of the film through the naming of a French production company. More significant is the prominent placement of Evian water in a film that is suffused with images of and references to all types of liquids. The water carried in ubiquitous plastic bottles, which Vandana Shiva argues in Water Wars (2002) will soon replace traditional open access to water in the developing world, functions as a fetish object in the film. One of the central characters transforms from a traditional water carrier to a sort of virgin prostitute who performs for her clients by pouring Evian water on herself and on them in an act of sexualized profligacy. Repeated throughout the film, these scenes seem to suggest that the alchemy performed by global brands such as Evian creates a confusion between water, the element required for all forms of life, and water, the symbol of status conferred by the Western brands that distribute it. The market-driven scarcity of water that results from its bottling and branding is also linked, the film suggests, to a general commodification of the existence of the postcolonial subject, against which the three central characters resist to varying degrees of success. Part of the research I will conduct for this paper will be to discover the precise financial arrangement between Evian and the film’s French production company in order to show how the film presents, or subverts, its inscription in an economy of product placement and, in a broader sense, a global economy.