The epilogue calls for a renewed historiography of the Cold War and argues that the postcolonial ruin be viewed as a privileged site for future reflection. The ruin is commonplace in postcolonial narratives, and it is certainly privileged in Cold War historiography, and fusing the two would allow for ruin work that would enable deliberation, reconstruction, and excavation as well as new theoretical horizons. The epilogue analyzes the film Rostov-Luanda by Mauritanian filmmaker Abderahmane Sissako as emblematic of ruin work that stitches together postcolonial studies, decolonization, and the Cold War, fields that have often been studied separately.