Rather than a comparison or adjudication of the distinct ways in which Gilles Deleuze and Alain Badiou form their philosophies in relation to cinema, this essay reads their work as an intensification of the Hegelian problem of the relation between truth and image. Neither philosophy accepts a conception of an absolute truth without history, and neither accepts a simple relativism. Instead, for both, cinema operates as a disclosure of the truth of the relative, the necessary manifestation in the world of a truth that is not reducible to the world.