Birds of September
A glassed van roams the streets of Beirut, home to a camera that explores the city behind the glass. Along the way, several people are invited to share a personal moment in this moving confessional. Each one comes as a face, a body, a posture, a voice, an attitude, an emotion, a point of view, a memory. Their confessions are true, blunt, and intimate. However, soon enough, the van empties again, and roams Beirut; restlessly looking for something, for someone.
To most people, or at least to me, Beirut is a city in which everything becomes easily familiar: faces, streets, and sounds. All the elements interconnect, boundaries are undefined, everything seems to be constantly moving and intertwining … Private space and anonymity seem practically impossible at times, and one finds himself constantly overwhelmed, taken by the city’s chaos and almost forced to interact with it. This was my impression of this city when I decided to make the film. And the concept of this film is a somehow a reaction to this impression. The ‘moving bubble’ allowed me to take some distance from the city in order to try to dismantle its elements, filter the sounds and have intimate encounters while staying aware of the space around me. Soon enough, the safe bubble I was in became the bubble of each one of the random encounters I had along the way. Each one of us is in an isolated state of mind; and yet we all share the same space.