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After surviving a car crash in the middle of Lebanon's isolated Beqaa Valley, an amnesiac man finds himself held hostage on a local farm that doubles as an illegal drug-production facility.
It's autumn. A man and a woman are about to leave a restaurant situated in the heart of the Lebanese mountains. They are suprised by fighter planes screaming past at low altitude. In the distance, war seems to be breaking out once more. Losing sight of the woman, the man starts looking for her. He finds her on the other side of the mountain. Together they sink deeper into nature, which becomes increasingly spectral, just like the slender thread that ties them to each other.
For the 30th anniversaire of FIDMarseille about thirty directors have done us the honor of offering us some very beautiful short films.
A journalist and a photographer drift on their way between Beirut and Baalbeck. Their journey is repeated three times in three different ways to evoke current issues and confusion in Lebanon’s present state.
Night falls over Beirut. Fadi, a forty year old, packs his luggage and sets out to the airport with his friend driving him. He is supposed to leave for a month, but instead of going up the plane, he heads to the arrivals section and rents a car. He takes the highway heading North then continues on a mountainous route. Far from anyone, on a deserted highway, a deviation forces him to quit the main road. A distinct sound coming from far is heard; the sound of a car honk. Fadi gets closer and closer to the sound and sees a wrecked car crashed in a tree alongside the road. A couple lay still inside.
"Disaster ruins everything while leaving everything as it is," wrote Maurice Blanchot. "Everything." From the southern districts of Beirut to southern Lebanon, a car winds its way through the devastated country. No title for such desolation.
Rosa Luxemburg’s letters from prison form the backbone of Ghassan Salhab’s essayistic collage. Luxemburgs’s lyrical descriptions of nature bear witness to a joie de vivre undimmed by the political situation of the time and are not seen, but rather heard – in both German and Arabic. In connection with images of a wintry Berlin, a polyphony of different overlapping visual and acoustic layers is produced.
An interview with Jean-Luc Godard around the time of his film Notre Musique.
Following on from the 2006 Israeli aggression on Lebanon, the filmmaker tries to film the destruction of Beirut. We witness a city deserted by life, and ghostly characters who, featured in his earlier films, talk about living through such a war.
In Beirut, the destinies of several thirtysomethings (an architect, a tour guide, a mystic, a radio operator, and an exile returned home) collide.