Tony Gatlif's 1997 film, Gadjo dilo, portraying the search of a young Frenchman, Stéphane, for an old Gypsy singer, Nora Luca, was heavily criticized by Roma activists for denigrating the image of the Roma through harmful stereotypes and misrepresentations. In this paper, I argue that a Lacanian understanding of the voice as objet a, as it has recently been developed through the work of Mladen Dolar, provides us with a radically different interpretation of the film. Through tracing the object of Stéphane's quest, the acousmatic voice of Nora Luca, I show how Gadjo dilo undermines the notion of authenticity and truth that supports the very idea of true images or unified cultural identities.