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In Ghassan Salhab’s short filmic poems and political documentaries, he deliberately uses minimal images to make eloquent expressions of the desire for a new reality. As Salhab puts it: “The uprising in Lebanon was seriously starting to run out of steam; the first lockdown abruptly interrupted it, temporarily, we think. Now, as Bernard Noël Wrote, we must raise our fists and fight the memory.”

In Ghassan Salhab’s short filmic poems and political documentaries, he deliberately uses minimal images to make eloquent expressions of the desire for a new reality. As Salhab puts it: “The uprising in Lebanon was seriously starting to run out of steam; the first lockdown abruptly interrupted it, temporarily, we think. Now, as Bernard Noël Wrote, we must raise our fists and fight the memory.”

One evening, Etienne, a police officer from the BAC, and Christian, his teammate, witness the assault of a young girl. But the killer manages to escape, seriously injuring Christian. Shortly after, Etienne discovers, on the one hand, that Angèle, the woman who left him seven months earlier, is about to give birth and that his new boss, Alex Le Guen, is none other than the man he spent the night with after a drunken evening.

Alexander (Taimak) leads a team of martial arts experts to save a beautiful, kidnapped queen. As things start to go wrong, they could get trapped in a Hell they never imagined.

In the shadows of society, rival ninja clans fight to control an ancient technique which holds untold strength. This coveted power dwells within apathetic Miharu, a fact the guy really couldn’t care less about—until the clans bring their war to him.

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Determined to succeed, one in gastronomy, the other in business, Boriss and Samy open a kebab shop in their town. Despite their overwhelming desire to do well and endless ideas, their establishment does not achieve the expected success. Accompanied with sarcasm by PV, a long-time customer, they juggle between boldness and failure together.