Nadim Tabet Lemmy Caution

"Le Gai Savoir" By GodArt There's something despicable about time. Eternity and infamy were born together.

“People are more beautiful after they have suffered.” I want to believe in this line from a posthumous film by Manoel de Oliveira (Visite ou Mémoires et Confessions) - as I - as we - continue to hear the sound of  Israeli bombs. Several fell today across the beautiful sky of Lebanon.

Is it a sign that I happened to pass by the Vatican before traveling to Beirut? Even though the world seems to be tolerating the Gaza doctrine, now being exported to southern Lebanon, I still hope that this Italian prayer will bring justice to Lebanon.

The Sea as a Witness: An Archaeological Memory A three part film programme curated by @cindychehab Part One: Sat 28th Mar @ 6pm Emergency fundraiser in aid of displaced families in Beirut _________ Summer 91 (20’, Lebanon, 2014) Nadim Tabet & Karine Wehbé At a beach resort on the Lebanese coast, a young woman and a young man tell their shared story in different ways. Through their conflicting memories, the film explores youth, relationships, and the fragile nature of recollection, set against the lingering tensions of wartime Lebanon. Nadim Tabet & Karine Wehb Nadim Tabet is a film director with several short films under his belt and a feature film titled One of These Days which won Best Debut Feature at the Arab Film and Media Institute's 22nd Arab Film Festival in San Francisco. Along with his films, Nadim Tabet co-founded the Lebanese Film Festival and gives lectures on cinema in several universities across Lebanon. Whether in his short or feature films, Nadim has always been interested in the Lebanese youth and their relationship to history at large. How can trivial daily matters (boys meet girls, carelessness, desire for life etc.) resist the upheavals of Lebanese history? This slow contamination of intimacy by larger stakes is a way for Nadim to investigate questions around the notion of loss, time that passes, and melancholia. Karine Wehbé is a Lebanese artist and graphic designer whose practice spans drawing, photography, video, and installation. Her work explores questions of history, memory, and the relationship between people and their environments. Her projects have been presented at venues including ICC New York, Ashkal Alwan, Beirut Art Center, Beirut Art Residency, Takeover, and the Sursock Museum. Profiles: @lemmycaution40 @karinewehbe_studio __________ Full information including event accessibility can be found on our website! Link in Bio This event forms part of our wider programme WOWTE, which is supported by @artscouncilireland _________ Tickets All proceeds from ticket sales and donations will go directly to relief efforts in Beirut. Can't come but would like to support? You can purchase a solidarity ticket via our website!

In these dark times for the world, and for Lebanon in particular, I think of these few lines from a poem by Pasolini—they are almost a lifeline for me: I return to listening to Bach I return to feeling the soil of the garden I return to thinking of poems and novels I return to the silence that turns a rainy morning into the beginning of tomorrow’s world.

A strange feeling, after yesterday’s nightmarish day, to come across—by chance, on the NCineClub page— an excerpt from "Summer 91", a film I co-directed with Karine Wehbé. Will those sensations ever return?

F.... Hezbollah🖕🏻 All we have left is to listen to Alan Vega and Martin Rev to accompany us through this night that feels almost eternal… at least in our region... "I... I've seen it before".

I certainly won’t be mourning Khamenei’s death, and I hope what awaits my Iranian friends is not an Iraq- or Afghanistan-style scenario. As for the rest, we always come back to Tancredi’s line in "The Leopard " by Visconti: “Everything must change so that nothing changes.” Let’s hope that, for once, this sentence proves false. But Naftali Bennett’s “Turkey is the new Iran”, unfortunately suggests that our region may remain a punching bag for Israel and the United States for a long time to come. As for me—by chance or coincidence?— on the eve of this new war, I was in Beirut attending a concert by Postcards. A band for whom I had the pleasure of directing a music video for a song whose title sadly sounds like a manifesto for Lebanon, and perhaps even for the whole region: “Home Is So Sad.”