This small series features new restorations of works by three filmmakers from Lebanon: Borhane Alaouié, Jocelyne Saab, and Heiny Srour. They share a belief that cinema can have a transformative effect on political action, a belief that placed their work at the center of debates within French film criticism at Cahiers du cinéma and Cinéthique in the 1970s. All three came to filmmaking in and around the outbreak of the Lebanese Civil War, part of a generation of filmmakers sometimes referred to as the New Lebanese Cinema, and used the medium as an extension of their activism. To this end, all three may be broadly characterized as pan-Arab filmmakers, often working in a wide variety of contexts outside of Lebanon (Alaouié in Egypt; Saab in Libya, Algeria, and Iraq; Srour in Palestine).
Image Credit: Leila and the Wolves
show less
Image Credit: Leila and the Wolves
This small series features new restorations of works by three filmmakers from Lebanon: Borhane Alaouié, Jocelyne Saab, and Heiny Srour. They share a belief that cinema can have a transformative effect on political action, a belief that placed their work at the center of debates within French film criticism at Cahiers du cinéma and Cinéthique in the 1970s. All three came to filmmaking in and around the outbreak of the Lebanese Civil War, part of a generation of filmmakers sometimes referred to as the New Lebanese Cinema, and used the medium as an extension of their activism. To this end, all three may be broadly characterized as pan-Arab filmmakers, often working in a wide variety of contexts outside of Lebanon (Alaouié in Egypt; Saab in Libya, Algeria, and Iraq; Srour in Palestine).
Image Credit: Leila and the Wolves
read more
Image Credit: Leila and the Wolves
show less
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Berkeley Art Museum and Pacific Film Archive (BAMPFA)
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