History can\u2019t be thought of in linear terms. The overlapping events of historical change are always seeking new connections. Lana Daher understands this and states right away that her film is not meant as a chronological account of Lebanon. The result is a film unlike anything seen before \u2013 a rich, fulfilling, visually stunning portrait of a country without a national film archive. Through the images, we dance our way through Lebanon \u2013 private footage from home videos, film scenes by Jocelyn Saab, a report featuring Etel Adnan in the back seat of an old car through Beirut \u2013 or the sounds of a video clip. Found footage from more than 20,000 sources unfolds before us as a new dimension of collective memory. At a time when our Western perception is being narrowed by high-speed media coverage, this film is a much-needed expansion of our view of Lebanon. The rhythmic montage is captivating, and it is a delight to discover this rich country\u2019s cultural history across the decades. The film highlights how archives are essential tools for writing history. The images, combined in new ways, give us a sense of connection with those for whom Lebanon is a homeland under threat. After watching the film, you can almost smell the sea off Beirut, hear the music of children\u2019s laughter in the alleyways, catch market scents in your nostrils and, yes, sense the melancholy of a country carrying deep wounds.<\/p>\n