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After surviving a car crash in the middle of Lebanon's isolated Beqaa Valley, an amnesiac man finds himself held hostage on a local farm that doubles as an illegal drug-production facility.
Late in the 1980s it seems like the Lebanese conflict will never end. Khalil returns to Beirut after many years. Ten years earlier, during a battle, he took advantage of the confusion and pretended he was dead.
Night falls over Beirut. Fadi, a forty year old, packs his luggage and sets out to the airport with his friend driving him. He is supposed to leave for a month, but instead of going up the plane, he heads to the arrivals section and rents a car. He takes the highway heading North then continues on a mountainous route. Far from anyone, on a deserted highway, a deviation forces him to quit the main road. A distinct sound coming from far is heard; the sound of a car honk. Fadi gets closer and closer to the sound and sees a wrecked car crashed in a tree alongside the road. A couple lay still inside.
The video ‘Embrace’, which is part of ‘Time and the Other’ (exhibition and book), is a single shot of a couple in an urban landscape. As the camera gets closer, the shot becomes more and more abstract. The concept of ‘Embrace’ is based on the ambiguity and violence projected onto any act, at that singular instant when the real and the non-real are indiscernible. In this short video, we are never sure whether the couple is fighting or embracing. ‘Time and the Other’ is the story of love and separation of a couple, viewed from the subjective angle of one of the lovers. That experience is expressed in the absence of the other. It includes 3 chapters: Embrace, Sleep & Lost Chords.
A yearning in an unsettled space that, once, was shared and breathed by two cineastes, living in two different cities, trying to sustain their longing through each other’s scattered images, sounds, and monologues, pieced together in one film, one dialogue, one soul flown away by loneliness and fallen apart like a forsaken angel. Aala kad al shawk - Le Voyage immobile (or As Far as Yearning) is that dialogue-in-progress taking the shape of a film composed by sound, performed by words, perforated by images still in motion. Ghassan Salhab and Mohamed Soueid are embracing a sense of survival. This film is a sixth sense they nurtured in a world that has become faceless. Their film essay is a personal attempt to be two in one. Disguised as men, they walk among men who left behind their shadows.
