Christian Ghazi

21 September 2019

Christian Ghazi’s incendiary, avant-garde masterpiece A Hundred Faces for a Single Day ends with the send-off, “I don’t care when or how I will die, as long as there are armed men who will continue the march, shaking the earth with their uproar so that the world won’t sleep heavily over the bodies of the laborious, miserable and oppressed men.” Through this fiction-documentary hybrid film, Ghazi forged a strong critique of bourgeois society in Beirut during Lebanon’s Golden Age (which would end in 1975 with a gruelling and protracted civil war). An essay on labour, class, social relations and resistance, Ghazi considered the film his “manifesto on cinema”, a powerful and polemical work that reaches back to the early decades of film experimentation while pioneering radical techniques in multivalent sound, disjunctive montage and an embedded perspectives on direct action.

Selected by Artist in Profile Marwa Arsanios, who will introduce the film

21 September 2019

Christian Ghazi’s incendiary, avant-garde masterpiece A Hundred Faces for a Single Day ends with the send-off, “I don’t care when or how I will die, as long as there are armed men who will continue the march, shaking the earth with their uproar so that the world won’t sleep heavily over the bodies of the laborious, miserable and oppressed men.” Through this fiction-documentary hybrid film, Ghazi forged a strong critique of bourgeois society in Beirut during Lebanon’s Golden Age (which would end in 1975 with a gruelling and protracted civil war). An essay on labour, class, social relations and resistance, Ghazi considered the film his “manifesto on cinema”, a powerful and polemical work that reaches back to the early decades of film experimentation while pioneering radical techniques in multivalent sound, disjunctive montage and an embedded perspectives on direct action.

Selected by Artist in Profile Marwa Arsanios, who will introduce the film

Director

Country

Run Time

64 mins
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