{"id":3260,"date":"2022-01-04T10:00:32","date_gmt":"2022-01-04T09:00:32","guid":{"rendered":"https:\/\/blogs.bmj.com\/medical-humanities\/?p=3260"},"modified":"2021-12-17T10:28:01","modified_gmt":"2021-12-17T09:28:01","slug":"beirut-and-the-perpetual-war","status":"publish","type":"post","link":"https:\/\/blogs.bmj.com\/medical-humanities\/2022\/01\/04\/beirut-and-the-perpetual-war\/","title":{"rendered":"Beirut and the Perpetual War"},"content":{"rendered":"<p><strong>Film Review written by Nahed Salah, Egyptian film critic and book author<\/strong><\/p>\n<p><em>\u2018<\/em><em>Youssef\u2019<\/em> (Kazim Fayyad, Lebanon, 2021) winner of the best first feature in Alexandria Film Festival 2021.<\/p>\n<p>Recent events in Beirut portray a significantly different picture from the one often celebrated in poetry, music, and classical films as \u2018a city of beauty and love\u2019. Beirut\u2019s free spirit is difficult to find amongst recent tragedies such as the Port explosion in 2020. The city, now more Chekhovian than anything else, is entrapped in anguish, poverty, violence, and hardship adding layers of fear and angst that is now rampant in its streets.<\/p>\n<p>When I finished re-watching the Lebanese film \u2018<em>Youssef<\/em>\u2019, I was contemplating the extent to which the civil war impacted on the film director Kazim Fayyad\u2019s vision of Beirut. Fayyad was born in 1994 in the post-war era. A new war was raging outside, seemingly borne out of thin air or from the city\u2019s smoke etched all over the news.<\/p>\n<figure id=\"attachment_3261\" aria-describedby=\"caption-attachment-3261\" style=\"width: 2048px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-3261 size-full\" src=\"https:\/\/blogs.bmj.com\/medical-humanities\/files\/2021\/12\/Salah-Nahed-Youssef.jpg\" alt=\"Youssef at his brother's funeral\" width=\"2048\" height=\"858\" srcset=\"https:\/\/blogs.bmj.com\/medical-humanities\/files\/2021\/12\/Salah-Nahed-Youssef.jpg 2048w, https:\/\/blogs.bmj.com\/medical-humanities\/files\/2021\/12\/Salah-Nahed-Youssef-300x126.jpg 300w, https:\/\/blogs.bmj.com\/medical-humanities\/files\/2021\/12\/Salah-Nahed-Youssef-768x322.jpg 768w, https:\/\/blogs.bmj.com\/medical-humanities\/files\/2021\/12\/Salah-Nahed-Youssef-1536x644.jpg 1536w, https:\/\/blogs.bmj.com\/medical-humanities\/files\/2021\/12\/Salah-Nahed-Youssef-640x268.jpg 640w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\" \/><figcaption id=\"caption-attachment-3261\" class=\"wp-caption-text\">Youssef at his brother&#8217;s funeral<\/figcaption><\/figure>\n<p>&nbsp;<\/p>\n<p>The film begins with Youssef (Houssein Haidar) trying to save his brother, Firas (Eyad Nouredine). The film narrative alternates between the fact that Firas is still alive with Youssef trying to protect him from the weapons-mafia operating between Lebanon and Syria, and Firas been tragically killed in a gun fight. The intentionally blurred reality encourages the audience to view unfolding events through a similar lens as that of Youssef\u2019s, a viewpoint whose reliability is being continuously questioned. Through this restless shifting between reality and fiction, the audience feels the hardships of Lebanese life, from poverty, arms trade, and murder to the constant struggle of maintaining one\u2019s humanity. The film\u2019s core message is seen through Youssef\u2019s search for help in psychotherapy sessions. Youssef\u2019s recovery begins when he opens to his university Professor.<\/p>\n<p>Contemporary Lebanese films such as \u2018<strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Memory_Box_(film)\">Memory Box<\/a><\/strong>\u2019, (Joana Hadjithomas, and Khalil Joreige, 2021), and \u2018<strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/The_Sea_Ahead\">The Sea Ahead<\/a><\/strong>\u2019 (Ely Dagher, 2021) portrayed societal shift in Lebanon following the civil war: the violence, its atmospheric dread intermingled with the short-lived hope of the country\u2019s post-war years. <em>\u2018Youssef\u2019 <\/em>does not theorize as a film, but rather presents an emotional artistic piece that reflects the anger and pain embedded within the country\u2019s layers of disruption and madness. After making 5 short films as a director, Fayyad focuses on Lebanon\u2019s current turbulent affairs in his first feature-length film exposing his city as a market for weaponry and a nightmare for its citizens. There is a clear correlation between the violence and its devastating effect on people\u2019s mental state. It is important to note that the film is based on true events. The camera showcases a panoramic view of Beirut from above, where the viewer can see the roofs of poor houses, before closing in on the miserable living conditions of its afflicted citizens. A society that traditionally showed its best parts is not one that talks about its misery with equal measure.<\/p>\n<p>Youssef, the film protagonist, provides an example of a Lebanese citizen caught between his dreams and the bitter reality he endures. The titular character says, bluntly: \u201cWe are afraid to sleep; we do not want to dream about it.\u201d Youssef lives two separate lives, one in his waking world and the other in his torrid dreams, a disorder referred to as \u201cDream Reality Confusion,\u201d an inability to distinguish between one\u2019s dreams and the real world one inhabits. He sleeps for days at a time, occasionally shocked into an awakened state by the weight of reality.<\/p>\n<p>Through <em>\u2018Youssef\u2019,<\/em> Fayyad explores his own memory, one that is perpetually haunted by the civil war, a war he did not witness but nevertheless inherited. Fayyad is attached to his strange city, and wrestles with her legacy, and where his story fits within its broader narrative. In this ebb and flow, Fayyad through Youssef shares with his city, Beirut, his past, vague as it is, and the misery he is drowning in. The misery is collective\u2014the consequence of questions left unanswered, and a war that never truly ended.<\/p>\n<p>There is a touching scene, which embodies the film\u2019s core message: Youssef confronts his Professor, who tells him that the opportunities he longs for will not arrive on a silver platter, but rather, \u201cThe opportunity spreads fear.\u201d Youssef, in his frustration, exclaims: \u201cFear?!\u201d He challenges the Professor\u2019s definition of fear\u2014being late for work, or the insecurity of one\u2019s own home, that one day the roof may cave in? Is it deciding between paying for food or transportation to go home? Perhaps it is the inability to pay a medical bill? He ends his soliloquy abjectly: \u201cWe, the poor\u2014they sow seeds of fear inside of us so that we do not demand our rights today in case we wake up in hell tomorrow.\u201d The film is dedicated to the destitute and psychologically distressed in Lebanon and worldwide, especially those traumatized by war.<!--TrendMD v2.4.8--><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Film Review written by Nahed Salah, Egyptian film critic and book author \u2018Youssef\u2019 (Kazim Fayyad, Lebanon, 2021) winner of the best first feature in Alexandria Film Festival 2021. Recent events in Beirut portray a significantly different picture from the one often celebrated in poetry, music, and classical films as \u2018a city of beauty and love\u2019. [&#8230;]<\/p>\n<p><a class=\"btn btn-secondary understrap-read-more-link\" href=\"https:\/\/blogs.bmj.com\/medical-humanities\/2022\/01\/04\/beirut-and-the-perpetual-war\/\">Read More&#8230;<\/a><\/p>\n","protected":false},"author":345,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[206],"tags":[15099],"class_list":["post-3260","post","type-post","status-publish","format-standard","hentry","category-film","tag-film-review"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Beirut and the Perpetual War - Medical Humanities<\/title>\n<meta name=\"description\" content=\"&#039;Through \u2018Youssef\u2019, Fayyad explores his own memory, one that is perpetually haunted by the civil war, a war he did not witness but nevertheless inherited.&#039;\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/blogs.bmj.com\/medical-humanities\/?p=3260\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Beirut and the Perpetual War - 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