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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.

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Simon, Mana and Eloka are sitting at the atelier’s table drinking scotch in silence. As one of them evokes his experience of the smoky taste in a boggy forest, Simon says that only rats would survive the end of the world. He finds it sad and beautiful.

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