Jocelyne Saab

After living clandestinely in Beirut to escape the Israeli forces, the head of the Palestine Liberation Organization (PLO), Yasser Arafat, left Lebanon aboard the Atlantis for a new exile in Greece and then Tunis. He talks about his destiny and the future of the PLO. Saab was the only journalist with a camera admitted on the boat.

Palestinian women, the often-forgotten victims of the Israeli-Palestinian war, are here given a voice by Jocelyne Saab. The film was commissioned by Antenne 2 (France), but it was censured while still in the editing stage and never shown. This print was specially made for this retrospective by the conservation centre at Cinemateca Portuguesa.

Samar, a child of the war, finds relief from the chaos around her through Egyptian movies she watches on television. Karim, an artist in retreat from life, remains in his apartment in war-torn West Beirut, confident that he is safe in his familiar neighborhood. An unlikely bond is formed between the two as they face the devastating civil war.

A few months after the incident of April 13, 1975, during which Palestinian civilians were machine-gunned by Phalangist militiamen, the toll is most tragic: six thousand dead, twenty thousand wounded, incessant kidnappings, a semi-destroyed capital. This film traces the origins of the Lebanese conflict, the perception of a society that goes to war while singing. A unique document on the Lebanese civil war. Beyond the religious war, the painting of a social and political reality that has not changed much, more than four decades later.

The Iranian revolution leads to the Shah’s downfall and installation of the Islamic Republic. Avoiding the more sensational elements of the news this film questions Iranian society as a whole to try to understand what this wave of change means for the Muslim world.

A young, free-spirited dancer and student of Arabic poetry falls in love with her thesis supervisor while trapped in a relationship with a man who disapproves of her dancing.

After living clandestinely in Beirut to escape the Israeli forces, the head of the Palestine Liberation Organization (PLO), Yasser Arafat, left Lebanon aboard the Atlantis for a new exile in Greece and then Tunis. He talks about his destiny and the future of the PLO. Saab was the only journalist with a camera admitted on the boat.

After living clandestinely in Beirut to escape the Israeli forces, the head of the Palestine Liberation Organization (PLO), Yasser Arafat, left Lebanon aboard the Atlantis for a new exile in Greece and then Tunis. He talks about his destiny and the future of the PLO. Saab was the only journalist with a camera admitted on the boat.

Palestinian women, the often-forgotten victims of the Israeli-Palestinian war, are here given a voice by Jocelyne Saab. The film was commissioned by Antenne 2 (France), but it was censured while still in the editing stage and never shown. This print was specially made for this retrospective by the conservation centre at Cinemateca Portuguesa.

Palestinian women, the often-forgotten victims of the Israeli-Palestinian war, are here given a voice by Jocelyne Saab. The film was commissioned by Antenne 2 (France), but it was censured while still in the editing stage and never shown. This print was specially made for this retrospective by the conservation centre at Cinemateca Portuguesa.

Palestinian women, the often-forgotten victims of the Israeli-Palestinian war, are here given a voice by Jocelyne Saab. The film was commissioned by Antenne 2 (France), but it was censured while still in the editing stage and never shown. This print was specially made for this retrospective by the conservation centre at Cinemateca Portuguesa.

Samar, a child of the war, finds relief from the chaos around her through Egyptian movies she watches on television. Karim, an artist in retreat from life, remains in his apartment in war-torn West Beirut, confident that he is safe in his familiar neighborhood. An unlikely bond is formed between the two as they face the devastating civil war.

Samar, a child of the war, finds relief from the chaos around her through Egyptian movies she watches on television. Karim, an artist in retreat from life, remains in his apartment in war-torn West Beirut, confident that he is safe in his familiar neighborhood. An unlikely bond is formed between the two as they face the devastating civil war.

A few months after the incident of April 13, 1975, during which Palestinian civilians were machine-gunned by Phalangist militiamen, the toll is most tragic: six thousand dead, twenty thousand wounded, incessant kidnappings, a semi-destroyed capital. This film traces the origins of the Lebanese conflict, the perception of a society that goes to war while singing. A unique document on the Lebanese civil war. Beyond the religious war, the painting of a social and political reality that has not changed much, more than four decades later.

A few months after the incident of April 13, 1975, during which Palestinian civilians were machine-gunned by Phalangist militiamen, the toll is most tragic: six thousand dead, twenty thousand wounded, incessant kidnappings, a semi-destroyed capital. This film traces the origins of the Lebanese conflict, the perception of a society that goes to war while singing. A unique document on the Lebanese civil war. Beyond the religious war, the painting of a social and political reality that has not changed much, more than four decades later.

The Iranian revolution leads to the Shah’s downfall and installation of the Islamic Republic. Avoiding the more sensational elements of the news this film questions Iranian society as a whole to try to understand what this wave of change means for the Muslim world.

A young, free-spirited dancer and student of Arabic poetry falls in love with her thesis supervisor while trapped in a relationship with a man who disapproves of her dancing.

A young, free-spirited dancer and student of Arabic poetry falls in love with her thesis supervisor while trapped in a relationship with a man who disapproves of her dancing.

A young, free-spirited dancer and student of Arabic poetry falls in love with her thesis supervisor while trapped in a relationship with a man who disapproves of her dancing.

1976 marks the beginning of Beirut’s calvary. With a child’s eyes the filmmaker follows for six months the daily destruction of the city’s walls. Every morning, between 6 and 10am she roams around Beirut while the militia from both sides rest from their night of fighting.

1976 marks the beginning of Beirut’s calvary. With a child’s eyes the filmmaker follows for six months the daily destruction of the city’s walls. Every morning, between 6 and 10am she roams around Beirut while the militia from both sides rest from their night of fighting.

An imaginary post card written to the Turkish writer Orhan Pamuk. Jocelyne Saab writes about her illness, about the fragility of her body, and the situation in the Middle East that is ravaged by war.

An imaginary post card written to the Turkish writer Orhan Pamuk. Jocelyne Saab writes about her illness, about the fragility of her body, and the situation in the Middle East that is ravaged by war.

An imaginary post card written to the Turkish writer Orhan Pamuk. Jocelyne Saab writes about her illness, about the fragility of her body, and the situation in the Middle East that is ravaged by war.

Jocelyne Saab toured the city of Beirut devastated by Israeli bombings. She assesses the number of victims and the extent of the destruction.

At bottom is a tale of exploring the imagination of a writer, plus a tale of exploring the city of Beirut. The film deals with the initiation to love and the female soul.

At bottom is a tale of exploring the imagination of a writer, plus a tale of exploring the city of Beirut. The film deals with the initiation to love and the female soul.

At bottom is a tale of exploring the imagination of a writer, plus a tale of exploring the city of Beirut. The film deals with the initiation to love and the female soul.

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.

Jocelyne Saab, a young Lebanese journalist and director, interviews the director and the film crew while filming Nahla in Beirut.

Two young girls of the war generation, Yasmin and Leila, are in search of Beirut. When they meet an elderly film enthusiast with a secret store of Lebanese films, they persuade him to screen his collection for them. So begins an initiation into the myths and images of Beirut, but the girls want cold figures and facts, war babies indifferent to the memories evoked.

Two young girls of the war generation, Yasmin and Leila, are in search of Beirut. When they meet an elderly film enthusiast with a secret store of Lebanese films, they persuade him to screen his collection for them. So begins an initiation into the myths and images of Beirut, but the girls want cold figures and facts, war babies indifferent to the memories evoked.

A delicate portrait of Mei Shigenobu, daughter of the founder of the Japanese Red Army in Beirut, Fusako Shigenobu.

Poetry is everywhere, even in the refugee camps where absolute misery reigns. In front of old plastic advertising posters on which are drawn in giant format the big icons of luxury and consumerism that make up their shelters, refugee children stand like kings. Symbols of life at the heart of war, fragility, and death, these children are shown by Jocelyne Saab as precious notes of hope in the heart of a dehumanized world. One Dollar a Day was filmed in the Syrian refugee camps of the Bekaa plain, Lebanon in 2015, with text by Etel Adnan.

A few days after a massacre in a shantytown near Beirut, the director finds the children who survived. She approaches them by offering them crayons to draw. A link is created between them. They let her film their violent games: they repeat the scenes of horror they saw unfold before their eyes ...

A few days after a massacre in a shantytown near Beirut, the director finds the children who survived. She approaches them by offering them crayons to draw. A link is created between them. They let her film their violent games: they repeat the scenes of horror they saw unfold before their eyes ...

A few days after a massacre in a shantytown near Beirut, the director finds the children who survived. She approaches them by offering them crayons to draw. A link is created between them. They let her film their violent games: they repeat the scenes of horror they saw unfold before their eyes ...

This film from the heart of the desert shows the conflict between the Algerians and the Moroccans at El Aioun, and the Saharan resistance of the Polisario Front. A never ending story which is still one of the reasons for the conflict between Algeria and Morocco.

This film from the heart of the desert shows the conflict between the Algerians and the Moroccans at El Aioun, and the Saharan resistance of the Polisario Front. A never ending story which is still one of the reasons for the conflict between Algeria and Morocco.

This film from the heart of the desert shows the conflict between the Algerians and the Moroccans at El Aioun, and the Saharan resistance of the Polisario Front. A never ending story which is still one of the reasons for the conflict between Algeria and Morocco.

In July 1982, the Israeli army besieged Beirut. Four days earlier, Jocelyne Saab sees her house burn and 150 years of family existence go up in smoke. She then takes refuge in questioning: when did this all begin? How did the Beirut people live the siege? Each place will then become a story and each name a memory.

When peace seems impossible, any means are justified to defend a political cause. Hence, on the border separating the Palestinian territories that refuse to recognize the State of Israel, the idea of suicide commandos emerges. Jocelyne Saab films teenagers, aged twelve to twenty, who tirelessly train in a secret underground base to become suicide commandos.

The cease-fire declared on October 21, 1976, gave the Fedayeen the opportunity to reclaim this area—Fatah territory until it was abandoned in 1970—from the right wing militia. But Syrians and Israelis joined together to neutralise this Palestinian “autonomous force” and imposed a siege on two Lebanese frontier villages, Hanine and Kfarchouba, before attacking them.

Portrait of a woman, Jocelyne Khoueiry, who, in 1976 during the Lebanese civil war, was the muse of the Phalangist militia in Beirut. Fifteen years later, stricken with remorse, she became a nun and founded a religious order.

A singular and poetic evocation of what Alexandria was, a multifaceted city, when it was at the heart of the Arab and European worlds. The men of letters Cavafy and Lawrence Durell are evoked by a few quotes describing the city, scattered throughout the film. The mixture of cultures and languages is the very essence of Alexandria, its inhabitants testify to the memory of a lush and harmonious cosmopolitan city, under the eye of the director's camera...

Portrait of Raymond Eddé, candidate for the Presidential elections and fervent opponent of the religious war. During the 1975-1976 conflicts he and his team had actively searched for people killed in the war, whether they were Christian, Druze or Muslim.