The Green Line

Tribute to the Druze Kamal Jumblatt, Minister of Economy and Agriculture (1946) and founder of the Progressive Socialist Party (PSP) in 1949. He was one of the architects of the departure of President Bechara el-Khoury (1952), before playing a major role in the events of 1958. From 1960 to 1964, Kamal Jumblatt assumed, under the presidency of Fouad Chehab, various ministerial functions . . After the conflict of June 1967, he gradually approached the Palestinian organizations. In 1969 he became Minister of the Interior; in August 1970, he supported the election of Soleiman Frangié as President of the Republic. Following the Lebanese-Palestinian clashes of May 1973, he took sides against the head of state, established himself as the leader of the National Movement in 1975 and engaged in a revolutionary armed struggle against the Lebanese Front. Hostile to Syria's intervention in Lebanon, he broke with it (March 1976). He was assassinated near a Syrian checkpoint in 1977.

Filmed in Beirut in the Spring of 1984, in many ways a letter about warfront.

July 2006. Another war breaks out in Lebanon. The directors decide to follow a movie star, Catherine Deneuve and a friend, actor and artist Rabih Mroue;, on the roads of South Lebanon. Together, they will drive through the regions devastated by the conflict. It is the beginning of an unpredictable, unexpected adventure...

An Israeli film director interviews fellow veterans of the 1982 invasion of Lebanon to reconstruct his own memories of his term of service in that conflict.

Uninhibited examination of the legacy of Lebanon’s civil war. A reflection on the destinies of comrades who were once bound by ideologies and remain tightly knit friends. The film travels the chimeric and daunting reality of Lebanon's fractured post-war landscape.

Wissam Charaf traces the recent history and identity of Lebanon through its political campaigns, PR imagery and pop videos.

Lebanon today. The traces of the civil war are all too tangible as government corruption becomes unbearable. In a country where conflict and peace are caught in an endless cycle, musicians from different backgrounds pool their talents to create an underground music scene. Each evokes his or her representation of Lebanon: its shifting geographical, political, historical and social borders, its painful passage through conflict and instability. A touching portrait of a young generation trying to build an oasis in a hostile environment where the forces of destruction continue to wreak havoc.

This political documentary by Hady Zaccak delves into the world of Lebanese Shiites through interviews with three Shiite youths, each with a different political and ideological affiliation, in addition to a very valuable interview with late Shiite cleric Sayyed Hani Fahs. The documentary explores the Shiites’ relation to Beirut’s Dahiyeh suburb, a Shiite stronghold, as well as the difference between the political and social perspectives of these youths.

Beirut, Lebanon's capital has a long history of political and social unrest that still makes headlines today. Globe Trekker's Beirut City Guide captures the city in more optimistic days, two weeks before the latest outbreak of hostilities in Lebanon between Israeli and Hezbollah forces in July 2006. Globe Trekker Megan McCormick explores the neighborhoods of Basta, Solidere, Gemayze and the Hezbollah District and finds a city in the midst of regeneration. She gets a glimpse at Beirut's future when meeting up with a group of young Arabic hip hop artists, who are eager to live in peace and put the country's political troubles in the past.

Thirty years after the end of the Lebanese Civil War (1975-1991), a filmmaker seeks to explore the trauma inflicted by the war on her family. Reverberations traces the history and politics of a nation in disarray in an intimate mother-daughter portrait that unravels the trauma that defined an era lost to history and a generation’s silence about its long-standing effects.

Architecture in Beirut was the second greatest victim of the civil war, with pages of ancient and modern history erased by the end of the conflict. This documentary interviews citizens calling for a reconstruction plan that would preserve Beirut’s spirit of culture and openness.

The apocalyptic blast in the Port of Beirut, Lebanon, on August 4, 2020, exacerbates anger at those in power: protests cross religious boundaries as the Lebanese people curse corruption, nepotism, gross economic mismanagement and squandering of resources. How did the Land of Cedars, a country with so much to offer, allow itself to get into such a dire situation? And will it be able to bounce back?

Letter from Beirut documents the filmmaker's return to Beirut during one of the lulls, three years after the outbreak of the civil war, animated by the urge to return. She is confronted by the physical, emotional and psychological ravages of the war, terrified and sorrowful, she cannot find her place in the city. In that quest, she communicates with everyday people, friends, neighbors, people riding the bus across the city's eastern and western flanks. To pace her journeying and dramatic unraveling of the film, Saab borrows the guise of a letter read in a voice-over, written by world-renowned poet Etel Adnan. A rare document from the civil war, Letter from Beirut lays bare and spontaneously how people make sense of their everyday in the midst of chaos, violence, terror and sorrow.

“Al Makhtufun” won the 1998 Best Short Documentary Film Award at the Mediterranean Film Festival for highlighting the issue of abducted Lebanese. The film raises two major issues: The abductee’s physical absence and his spiritual presence among his family members, and the parents silently wishing his return. The documentary looks at documents kept by Wadad, a mother who decides to step outside her comfort zone and share her papers and forms when other parents would not.

"When this last war broke out, I was faraway in Paris. I had but one idea: to return to Beirut as quickly as possible and to begin shooting a film, for historical moments were taking place. This film became indispensible: to film so that history would cease repeating itself and to build up a picture library for future generations. I never understood why so few films were made during the Lebanese Civil War. Apart from the odd film, nothing remains from that time. The war surely merited more attention." (Waël Noureddine)

WINE and WAR is a documentary about one of the the oldest winemaking regions on earth and the resilience of the Lebanese entrepreneurial spirit seen through the lens of war and instability.

‘Objects of War’ is a series of testimonials on the Lebanese war. Each person chooses an object, ordinary or unusual, which serves as a starting point for his / her story. These testimonials while helping to create a collective memory, also show the impossibility of telling a single History of this war. Only fragments of this History are recounted here, held as truth by those expressing them. In ‘Objects of War’, the aim is not to reveal a truth but rather to gather and confront many diverse versions and discourses on the subject. ‘Objects of War’ started in 1999 assembling the testimonials of eleven persons. It was first shown in 2000 . It continued in 2003 with ‘Objects of War n°2’, recording seven additional testimonials. This time however, and since then, the recorded material is left unedited, shown in its integrity. The work of collecting and assembling these stories continued with ‘Objects of War n°3 & n°4’ in 2006 and ‘n°5 & 6’ in 2014.

Drawing inspiration from his personal encounter with the Italian refugee child Giovanna during World War II, Markus Imhoof tells how refugees and migrants are treated today: on the Mediterranean Sea, in Lebanon, in Italy, in Germany and in Switzerland.

In this video, the artist tries to overcome the effects of distance, and reflects on geography represented in exile due to war, and on the psychological distance represented in each one’s approach to her womanhood. The video beautifully weaves personal images and audio recordings of a very intimate nature, binding the personal with the political. Reading aloud from letters sent by her mother in Beirut, Hatoum creates a visual montage reflecting her feelings of separation and isolation from her Palestinian family. The personal and political are inextricably bound in a narrative that explores personal and family identity against a backdrop of traumatic social rupture, exile and displacement.

Severely battered from the Beirut Port Explosion on August 4th, Minerva passed away eight days later. Her son Joseph, while still grieving for his loss, sunk into a long and absurd bureaucratic path through the inept system that disowned his mother as a victim of the blast. Minerva is gone. The explosion has snatched her soul, and the city walls have not yet recognized her as a martyr. There is no poster of her smiling face among those of the victims. Their faces are memories that will haunt us for the rest of our lives. Perhaps her son, devastated by her passing, seeks to etch her image into the city's memory. Perhaps he is seeking some confession to the crime. This is a place that casts out its children, whether dead or alive.