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

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.

Portrait of a French mercenary working in Libya, hired by the Phalange to train the militias. War leaves its traces; and for some, who see death as part of the job, it’s a vocation.

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.

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.

因感知不到自身慾望，杜妮亞在學習詩歌與舞蹈的過程中不斷受挫。後來遇到人生導師巴席爾，開啟了一段透過詩歌、音樂、舞蹈探尋狂喜經驗的冒險歷程。靈感取自於埃及禁書《一千零一夜》，以愛情故事之原型，強調自我賦權及女性情慾探索，並批判父權社會中的既有框架與束縛，乃導演所創作的劇情片類型中，最具女性主義意識的作品。