rewrite this content and keep HTML tags While Israeli aircraft are bombing several Lebanese regions, destroying towns and suburbs, and attacking citi
rewrite this content and keep HTML tags
While Israeli aircraft are bombing several Lebanese regions, destroying towns and suburbs, and attacking cities small and large, one cannot help but include this crucial period that Lebanon is going through with the periods and stages that this shackled nation has experienced for nearly half a century. This is if we forgive the other difficult stages that preceded this, even if they were not this severe.
First films
The civil war began in Lebanon in 1975 and became more ferocious after a few months before turning into a way of life for about 16 years. During and after it, it was natural for cinema to depict that war from different angles. It is merely recorded and documented in films, and dramas spread on both sides of the contact line in other films. Naturally, most of them were meant to express grief and suffering and how the people of one country were politically fragmented and took up arms to prove that the other should be wiped out.
Director George Shamshoum has completed a feature-length documentary entitled “Lebanon Why.” The title itself carries more sadness than the question posed through it. It was filmed on both sides of the line dividing the parties and, in its first unedited version, reflects the director’s desire to record the facts impartially.
Love Battles (Movento Films)
On a short note, the late Rafik Hajjar created “The Refuge” (in the early 1980s) to describe the impact of the war on innocent Muslims and Christians. Another neutral view protected by the humanitarian goal adopted by the film.
After that, the number of films that circulated that war increased, even – and perhaps especially – after the end of its bitter years. One of the most prominent works of that period is “Liner of Fire” by Bahij Hojeij. The story revolves around a school teacher who faces two severe crises, one personal and emotional, and the other the crisis of war.
The crisis also appears through the aspirations of a girl living in the atmosphere of her Christian family in the first film by Daniel Arbid, “Battles of Love,” which were addressed from different angles by director Mai Al-Masry in “Beirut Diaries,” “Dreams of Exile,” and “Shatila Children,” which is a collection of works she achieved. And her late husband, Jean Chamoun, addressed the Lebanese situation through the Palestinian tragedy and the Israeli attacks, which, in truth, were rarely far apart during half a century, starting with the assassinations of several Lebanese and Palestinian figures in the 1960s and later.
Between Baghdadi and Alawiya
Years before that, two Lebanese directors led the conversation about Lebanon as a crisis of livelihood and a crisis of war. The directors are Burhan Alawiya and Maroun Baghdadi. They're both gone. The first was in exile, and the second was during a visit to Beirut coming from France, where he belonged to its business structure.
In “Beirut the Encounter” by Alawiyah (1982), the story of an encounter that does not take place between a Muslim and a Christian woman. The prohibitive conditions are this crazy war. The film's point of view is the psychological and emotional breakdowns that war means. It is not that Haider (Haitham Al-Amin) and Zeina (Nadine Aqouri) were lovers before or during that war, but rather they both seek to know the other so that they may know themselves better.
The desire for knowledge led Maroun Baghdadi to make two films on this subject: “Beirut, Oh Beirut” (1975) and “Small Wars” (1982). The first is an expression of the director's inner feeling about the sectarian and social structure. Its heroine (Mireille Maalouf) seeks to know the other, while her educated friend (Joseph Bou Nassar) is a conservative who believes in distancing and is not interested in knowing that for the other. Both of them are from Christian families, and the other must be the Muslim party that supports the Palestinian cause, social justice, and Arabism.
In his subsequent film, “Small Wars” (literally better than the previous one), Baghdadi transferred the same equations to the depths of civil war. Models that express positions are constant: the woman who seeks knowledge. The Muslim looking for a future, and the committed Christian.
Ring of Fire (Portrait and Company)
Register an account
One of the films that presented the outcomes of the post-war situation in a good and measured way is Ziad Al-Duwairi’s film “Case 23” (2017). Its events take place years after the war, but some of its causes still exist: Tony (Adel Karam), a man who has been displaced since Palestinian and leftist fighters swept the Damour region during the civil war, now lives in Beirut (East), works in his garage and charges his political batteries with speeches. Lebanese right-wing leaders holding a grudge against the Palestinians. Therefore, as soon as he heard the tone of a Palestinian man standing under the balcony of his house, he threw water on him.
The Palestinian is Yasser (Kamel Al-Basha). He works as a labor agent in the municipality and supervises the implementation of repairs on the street where Tony lives. He tells Yasser at the beginning of the argument between them, “I wish Sharon had killed you all.” Attraction leads to an argument, and the case is brought to court between two people; The first still holds his political principles, while the other is trying to maintain his position in order to survive. In Tony's pleas, there is talk that the Palestinian is treated better in Lebanon than the Lebanese are treated in his country. But the court ruled in favor of the Palestinian, especially since he was officially contracted with the government institution to carry out the work entrusted to him.
This is one of the records of open accounts that the political situation is still full of today. But it is not the only record. For example, the issue of kidnapped and missing persons received some films that addressed this deep wound. Some people may have buried it for days until the present situation, but the living who suffered from the absence of their family members still remember and suffer.
This is best depicted in Ghassan Halwani’s film “Pallottes… Ascending to the Visible” (2019). My recording is occupied as a unique artistic and objective excavation in the wall of memory.
At their core, these are examples of many of the films that accompanied that civil war, and then followed it or brought something new from it to reach a new present situation that will in turn produce other films.
.Organize the content with appropriate headings and subheadings (h1, h2, h3, h4, h5, h6), Retain any existing tags from
While Israeli aircraft are bombing several Lebanese regions, destroying towns and suburbs, and attacking cities small and large, one cannot help but include this crucial period that Lebanon is going through with the periods and stages that this shackled nation has experienced for nearly half a century. This is if we forgive the other difficult stages that preceded this, even if they were not this severe.
First films
The civil war began in Lebanon in 1975 and became more ferocious after a few months before turning into a way of life for about 16 years. During and after it, it was natural for cinema to depict that war from different angles. It is merely recorded and documented in films, and dramas spread on both sides of the contact line in other films. Naturally, most of them were meant to express grief and suffering and how the people of one country were politically fragmented and took up arms to prove that the other should be wiped out.
Director George Shamshoum has completed a feature-length documentary entitled “Lebanon Why.” The title itself carries more sadness than the question posed through it. It was filmed on both sides of the line dividing the parties and, in its first unedited version, reflects the director’s desire to record the facts impartially.
Love Battles (Movento Films)
On a short note, the late Rafik Hajjar created “The Refuge” (in the early 1980s) to describe the impact of the war on innocent Muslims and Christians. Another neutral view protected by the humanitarian goal adopted by the film.
After that, the number of films that circulated that war increased, even – and perhaps especially – after the end of its bitter years. One of the most prominent works of that period is “Liner of Fire” by Bahij Hojeij. The story revolves around a school teacher who faces two severe crises, one personal and emotional, and the other the crisis of war.
The crisis also appears through the aspirations of a girl living in the atmosphere of her Christian family in the first film by Daniel Arbid, “Battles of Love,” which were addressed from different angles by director Mai Al-Masry in “Beirut Diaries,” “Dreams of Exile,” and “Shatila Children,” which is a collection of works she achieved. And her late husband, Jean Chamoun, addressed the Lebanese situation through the Palestinian tragedy and the Israeli attacks, which, in truth, were rarely far apart during half a century, starting with the assassinations of several Lebanese and Palestinian figures in the 1960s and later.
Between Baghdadi and Alawiya
Years before that, two Lebanese directors led the conversation about Lebanon as a crisis of livelihood and a crisis of war. The directors are Burhan Alawiya and Maroun Baghdadi. They're both gone. The first was in exile, and the second was during a visit to Beirut coming from France, where he belonged to its business structure.
In “Beirut the Encounter” by Alawiyah (1982), the story of an encounter that does not take place between a Muslim and a Christian woman. The prohibitive conditions are this crazy war. The film's point of view is the psychological and emotional breakdowns that war means. It is not that Haider (Haitham Al-Amin) and Zeina (Nadine Aqouri) were lovers before or during that war, but rather they both seek to know the other so that they may know themselves better.
The desire for knowledge led Maroun Baghdadi to make two films on this subject: “Beirut, Oh Beirut” (1975) and “Small Wars” (1982). The first is an expression of the director's inner feeling about the sectarian and social structure. Its heroine (Mireille Maalouf) seeks to know the other, while her educated friend (Joseph Bou Nassar) is a conservative who believes in distancing and is not interested in knowing that for the other. Both of them are from Christian families, and the other must be the Muslim party that supports the Palestinian cause, social justice, and Arabism.
In his subsequent film, “Small Wars” (literally better than the previous one), Baghdadi transferred the same equations to the depths of civil war. Models that express positions are constant: the woman who seeks knowledge. The Muslim looking for a future, and the committed Christian.
Ring of Fire (Portrait and Company)
Register an account
One of the films that presented the outcomes of the post-war situation in a good and measured way is Ziad Al-Duwairi’s film “Case 23” (2017). Its events take place years after the war, but some of its causes still exist: Tony (Adel Karam), a man who has been displaced since Palestinian and leftist fighters swept the Damour region during the civil war, now lives in Beirut (East), works in his garage and charges his political batteries with speeches. Lebanese right-wing leaders holding a grudge against the Palestinians. Therefore, as soon as he heard the tone of a Palestinian man standing under the balcony of his house, he threw water on him.
The Palestinian is Yasser (Kamel Al-Basha). He works as a labor agent in the municipality and supervises the implementation of repairs on the street where Tony lives. He tells Yasser at the beginning of the argument between them, “I wish Sharon had killed you all.” Attraction leads to an argument, and the case is brought to court between two people; The first still holds his political principles, while the other is trying to maintain his position in order to survive. In Tony's pleas, there is talk that the Palestinian is treated better in Lebanon than the Lebanese are treated in his country. But the court ruled in favor of the Palestinian, especially since he was officially contracted with the government institution to carry out the work entrusted to him.
This is one of the records of open accounts that the political situation is still full of today. But it is not the only record. For example, the issue of kidnapped and missing persons received some films that addressed this deep wound. Some people may have buried it for days until the present situation, but the living who suffered from the absence of their family members still remember and suffer.
This is best depicted in Ghassan Halwani’s film “Pallottes… Ascending to the Visible” (2019). My recording is occupied as a unique artistic and objective excavation in the wall of memory.
At their core, these are examples of many of the films that accompanied that civil war, and then followed it or brought something new from it to reach a new present situation that will in turn produce other films.
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